"THE USUAL SUSPECTS" By Christopher McQuarrie 06/11/94 BLACK The lonely sound of a buoy bell in the distance. Water slapping against a smooth, flat surface in rhythm. The creaking of wood. Off in the very far distance, one can make out the sound of sirens. SUDDENLY, a single match ignites and invades the darkness. It quivers for a moment. A dimly lit hand brings the rest of the pack to the match. A plume of yellow-white flame flares and illuminates the battered face of DEAN KEATON, age forty. His salty-gray hair is wet and matted. His face drips with water or sweat. A large cut runs the length of his face from the corner of his eye to his chin. It bleeds freely. An unlit cigarette hangs in the corner of his mouth. In the half-light we can make out that he is on the deck of a large boat. A yacht, perhaps, or a small freighter. He sits with his back against the front bulkhead of the wheel house. His legs are twisted at odd, almost impossible angles. He looks down. A thin trail of liquid runs past his feet and off into the darkness. Keaton lights the cigarette on the burning pack of matches before throwing them into the liquid. The liquid IGNITES with a poof. The flame runs up the stream, gaining in speed and intensity. It begins to ripple and rumble as it runs down the deck towards the stern. EXT. BOAT - NIGHT - STERN A stack of oil drums rests on the stern. They are stacked on a palette with ropes at each corner that attach it to a huge crane on the dock. One of the barrels has been punctured at it's base. Gasoline trickles freely from the hole. The flame is racing now towards the barrels. Keaton smiles weakly to himself. The flame is within a few yards of the barrels when another stream of liquid splashes onto the gas. The flame fizzles out pitifully with a hiss. Two feet straddle the flame. A stream of urine flows onto the deck from between them. The sound of a fly zipping. Follow the feet as they move over to where Keaton rests at the wheel house. CRANE UP to the waist of the unknown man. He pulls a pack of cigarettes out of one pocket and a strange antique lighter from the other. It is gold, with a clasp that folds down over the flint. The man flicks up the clasp with his thumb and strikes it with his index finger. It is a fluid motion, somewhat showy. Keaton looks up at the man. A look of realization crosses his face. It is followed by frustration, anger, and finally resignation. VOICE (O.S.) How are you, Keaton? KEATON I'd have to say my spine was broken, Keyser. He spits the name out like it was poison. The man puts the lighter back in his pocket and reaches under his jacket. He produces a stainless .38 revolver. VOICE (O.S.) Ready? KEATON What time is it? The hand with the gun turns over, turning the gold watch on its wrist upward. The sound of sirens is closer now. Headed this way. VOICE (O.S.) Twelve thirty. Keaton grimaces bitterly and nods. He turns his head away and takes another drag. The hand with the gun waits long enough for Keaton to enjoy his last drag before pulling the trigger. GUNSHOT The sound of Keaton's body slumping onto the deck. MOVE OUT ACROSS THE DECK. Below is the stream of gasoline still flowing freely. The sound of the gasoline igniting. The flame runs in front of us towards the barrels, finally leaping up in a circle around the drums, burning the wood of the pallet and licking the spouting stream as it pours from the hole. MOVE OUT ACROSS THE DOCK, away from the boat. The pier to which the boat is moored is littered with DEAD BODIES. Twenty or more men have been shot to pieces and lie scattered everywhere in what can only be the aftermath of a fierce fire-fight. A BARGE COMES INTO VIEW. On the deck of the barge is a tangle of cables and girders. The mesh of steel and rubber leaves a dark and open cocoon beneath its base. MOVE INTO THE DARKNESS. Sirens are close now. Almost here. The sound of fire raging out of control. SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET POUNDING THE PAVEMENT. MOVE FURTHER, SLOWER, INTO THE DARKNESS Voices yelling. New light flickering in the surrounding darkness. SUDDENLY, AN EXPLOSION. Then silence. TOTAL BLACKNESS. We hear the voice of ROGER "VERBAL" KINT, whom we will soon meet. VERBAL (V.O.) New York. - six weeks ago. A truck loaded with stripped gun parts got jacked outside of Queens. The driver didn't see anybody, but somebody fucked up. He heard a voice. Sometimes, that's all you need. BOOM INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIOR TO PRESENT DAY The black explodes with the opening of a door into a dark room. Outside, the hall is filled with blinding white light. Shadows in the shapes of men flood into the room. We can make out men in hoods with flashlights. They are laden with weapons. VOICES POLICE. SEARCH WARRANT. DON'T MOVE. It is a blur of violent action and sound. Beams of flashlights cut the darkness in all directions. FINALLY: A dozen flashlights land on one man. He lies naked in bed, emerging from a deep sleep. He squints at the flood of blinding white light, more annoyed than frightened. He nearly laughs at the sound of countless guns cocking. He is McMANUS. Age twenty-eight. VOICE (O.S.) Mr. McManus? MCMANUS Yeah. VOICE (O.S.) Police. We have a warrant for your arrest. MCMANUS Will they be serving coffee downtown? Two dozen black gloved hands grab him and yank him out of bed. INT. AUTO BODY SHOP - DAY An old paint mixer vibrates furiously. TODD HOCKNEY, a dark, portly man in his thirties is working on an old Fire-bird. A YOUNG HISPANIC KID mixes paint a few feet away. SUDDENLY, the garage door opens TO REVEAL: A row of five men silhouetted by the bright sun. Hockney squints. HOCKNEY Can I help you? Hockney's voice is gruff. MAN Todd Hockney? Hockney reaches for something just inside the door of the Fire-bird. HOCKNEY Who are you? All six men INSTANTLY PRODUCE GUNS and aim them at Hockney. MAN Police. Hockney withdraws a filthy towel and wipes grease and sweat from his forehead. HOCKNEY We don't do gun repair. EXT. STREET - NEW YORK - DAY FRED FENSTER, a tall, thin man in his thirties strolls casually down the street. He is dressed conspicuously in a loud suit and tie with shoes that have no hope of matching. He smokes a cigarette and chews gum at the same time. He happens to glance over his shoulder and notice a brown Ford sedan with four men in it cruising along the curb. He picks up his step a little. The Ford keeps up. He looks ahead at the corner. He tries to look as comfortable as he can, checking his watch as though remembering an appointment he is late for. The Ford stays right on him. SUDDENLY, he bolts. He gets no more than a few yards before cars pour out of every conceivable nook and cranny. Brakes are squealing, radios squawking, guns cocking. Fenster is surrounded instantly. He stops short and flaps his hands on his thighs in defeat. INT. MONDINO'S RESTAURANT - DAY An attractive man and woman walk quickly through the front of a small New York cafe. They are charged with nervous, excited energy. The man is DEAN KEATON, a well dressed, sturdy looking man in his forties with slightly graying hair. He looks much better than he did in the opening scene. The woman with him is EDIE FINNERAN, age thirty-three, poised and attractive - Easily the calmer of the two. They come to a staircase at the back of the restaurant leading down to a dark room. Edie takes Keaton's arm and stops him. EDIE Let me look at you. Keaton is uncomfortable in his suit, or perhaps the situation. Still, he smiles with genuine warmth. Edie straightens his tie and picks microscopic imperfections from his lapel. EDIE Now remember, this is another kind of business. They don't earn your respect. You owe it to them. Don't stare them down but don't look away either. Confidence. They are fools not to trust you. That's the attitude. KEATON I'm having a stroke. EDIE You've come far. You're a good man. I love you. Keaton blinks then stammers, looking for a response. PAUSE EDIE Live with it. She kisses him and runs down the steps with Keaton close behind. Keaton playfully grabs her ass and she nearly stumbles down the stairs. INT. RESTAURANT - DOWNSTAIRS They come to the bottom of the steps giggling and jabbing each other. Once off the stairs they instantly transform as though hit with cold air. They assume a cool, professional exterior and walk two feet apart. One would look at them and see only two business associates here to ply their trade. They walk across the dimly lit dining room to a table in the far corner where two men are already waiting. The first is MR. FORTIER, age thirty-five, the other is MR. RENAULT, age sixty. Both men are impeccably dressed with a distinguished air. They stand and smile. FORTIER Edie, nice to see you. EDIE Sorry we're late. FORTIER Nonsense. Sit, please. RENAULT (struggling with English) You must be Mr. Keaton. EDIE I'm sorry. Dean Keaton. Renault's hand is already out. RENAULT Monsieur Renault. A pleasure. KEATON How do you do? They shake hands. Keaton takes Fortier's hand next. FORTIER Monsieur Fortier. So nice to finally meet you. Everyone sits at the table. All faces are smiling. LOW ANGLE: UNDER TABLE Edie's hand reaches out and finds Keaton's leg. Her hand runs high up his inner thigh and squeezes firmly. Her face is absolutely calm, giving no hint of what her hand is doing. Keaton smiles and clears his throat. INT. MONDINO'S RESTAURANT Follow a waiter past the flight of steps. PAN DOWN TO REVEAL: Five sets of feet arriving at the bottom. The feet in the middle wear shoes notably nicer than the rest. PAN UP TO REVEAL: SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S. CUSTOMS. Thirtyish, dark-haired and determined. INT. RESTAURANT - DOWNSTAIRS FORTIER Edie brought us your proposal and I'll be honest. We're very impressed. A bit skeptical, I must admit, but impressed. KEATON Skeptical. RENAULT We find the concept brilliant, but New York is difficult for new restaurants. How can we be certain that our money will be returned in the long run? Keaton looks at Edie and smiles confidently. KEATON It's simple gentlemen, design versatility. A restaurant that can change with taste without losing the overall aesthetic. Our atmosphere won't be painted on the walls. FORTIER This was the part of the proposal that intrigued us, but I'm not sure I follow. KEATON Let's say for example - VOICE (O.S.) This I had to see myself. Keaton looks up. He sees David Kujan. Behind him are the very serious looking guys in suits. Keaton is not happy to see them. KEATON Dave. I'm in a meeting. KUJAN Time for another one. KEATON This is my attorney, Edie Finneran. (gesturing) This is Mr. Renault and Mr. Fortier. Everyone, this is David Kujan. KUJAN Special Agent Kujan. U.S. Customs. (Gestures to men behind him) These gentlemen are with the New York police department. You look great, Keaton. Better than I would have thought. RENAULT Is there a problem, Mr. Keaton? KUJAN The small matter of a stolen truck- load of guns that wound up on a boat to Ireland last night. Renault and Fortier's confusion is giving way to suspicion. FORTIER Mr. Keaton? KEATON If you will excuse us for a moment, gentlemen. KUJAN We need to ask you some questions downtown. You'll be quite awhile. Renault starts to get up. RENAULT We should leave you to discuss whatever this is. KEATON Please. Sit. Keaton stands up and throws a wad of money on the table to cover the check. He looks at Edie. She moves to stand, but he sits her back down with a hand on her shoulder. KEATON Enjoy the meal. (To Edie) I'll call you. Kujan takes him by the arm, but Keaton yanks away. He looks out over the dozens of other faces in the restaurant. Everyone is looking at him with some level of surprise. If Keaton is humiliated by the whole affair, he hides it well. INT. LOCK-UP HALLWAY - NIGHT A police officer steps into the frame and opens the steel door. FOLLOW A PAIR OF FEET as they shuffle across the cement floor. The shoes are shabby and worn, as are the wrinkled pants that hang too low and loose at the cuffs. The right foot is turned slightly inward and falls with a hard limp. It is clear that the knee does not extend fully. The sound of a steel door opening. The bottom corner of a steel cage comes into view. Another set of feet falls into step with the first. Another steel door and another set of feet. Another door, another and another. Five pairs of feet walk single file down the hall. The lame feet are in the front of the line. They come to another steel door, this one solid and covered with dents and rivets. CRANE UP TO REVEAL: ROGER KINT, VERBAL to his few friends. He has a deeply lined face, making his thirty-odd years a good guess at best. From his twisted left hand, we can see that he suffers from a slight but not debilitating palsy. Behind him are Dean Keaton, Fred Fenster, McManus and Todd Hockney. Verbal steps through the door, followed by the rest. VERBAL (V.O.) It didn't make sense that I be there. I mean these guys were hard-core hijackers, but there I was. At that point, I wasn't scared, I knew I hadn't done anything they could do me for. Besides, it was fun. I got to make like I was notorious. INT. LINE-UP ROOM The five men are ushered into the room in front of a white wall painted with horizontal blue stripes. Each has a number at either end to denote the height of the man in front of it. Between these lines are thinner blue lines to tell the specific height in inches. Bright lights shine on all of them. They squint, eyes adjusting. Keaton leans forward a bit and looks at the men in line with him. He shares a look of familiarity with Fenster and then McManus. Hockney smiles at all of them. MCMANUS (To Keaton) Where you been, man? VOICE (O.S.) SHUT UP IN THERE. Alright, you all know the drill. When your number is called, step forward and repeat the phrase you've been given. Understand? The men all nod. VOICE (O.S.) Number one. Step forward. Hockney takes a step forward. He looks directly into a mirror on the other side of the room. It is three feet square and we can make out faint light behind it. It is a two-way. He speaks in a complete dead- pan. HOCKNEY Hand-me-the-keys, you-fucking- cocksucker. VOICE (O.S.) Number two. Step forward. McManus steps up and makes a gun with his thumb and forefinger. He mocks criminal intensity, pointing at the mirror. He camps up his line. MCMANUS Give me the keys, you motherfucking, cocksucking pile of shit, or I'll rip off your VOICE (O.S.) KNOCK IT OFF. Get back in line. McManus steps back. The rest of the men do their bit as Verbal speaks. VERBAL (V.O.) It was bullshit. The whole rap was a setup. Everything is the cops' fault. You don't put guys like that in a room together. Who knows what can happen? INT. INTERROGATION ROOM - NIGHT McManus sits in a chair in front of a white wall. He smiles at someone off-screen. OVERLAPPED: MCMANUS This has to be embarrassing for you guys, huh? I mean you know and I know this is a load of shit, but at least I don't have a captain with his dick in my ass making me play along. That has got to suck. VOICE (O.S.) Are you done? MCMANUS Do you work for a broad? That would have to be the worst. VOICE (O.S.) Are you done? MCMANUS Still, I guess dignity is a small price to pay for medical and a pension. A small pension, mind you, but a pension nonetheless. VERBAL (V.O.) They drilled us all night. Somebody was pissed about that truck getting knocked off and the cops had nothing. They were hoping somebody would slip. Give them something to go on. They knew we wouldn't fight it because they knew how to lean on us. They'd been doing it forever. Our rights went right out the window. It was a violation. I mean disgraceful. They went after McManus first. He was a good guy. Crazy though. A top notch entry man. VOICE (O.S.) So where'd you dump the truck? MCMANUS What truck? VOICE (O.S.) The truck with the guns, fucko. MCMANUS You kill me, you really do. Where's my phone call? VOICE (O.S.) Right here. Suck it out. MCMANUS Clever guy. VOICE (O.S.) You want to know what your buddy Fenster told us? MCMANUS Do I look stupid enough to fall for that? Jesus Christ. Beat me if you gotta, but no more of the candy-land tactics, man. VOICE (O.S.) WHERE'S THE FUCKING TRUCK? INT. INTERROGATION ROOM Now Fenster is in the seat. He sweats profusely. FENSTER I want to call my lawyer. I don't know about any truck. I was in Connecticut all night on Friday. VOICE (O.S.) That's not what McManus said. OVERLAPPED: FENSTER Who? VOICE (O.S.) McManus. He told us another story altogether. FENSTER Was it the one about the hooker with dysentery I swear, she never mentioned money until I came. VOICE (O.S.) He told us about the truck. FENSTER To be honest, it was more like a mobile home. She made a lot of money. VOICE (O.S.) Who took the guns off your hands? FENSTER Hey, are we talking about the same thing? VOICE (O.S.) I'm losing my patience. VERBAL (V.O.) Fenster always worked with McManus. He was a real tight-ass, but when it came to the job, he was right on. Smart guy. A gopher. Got whatever you needed for next to nothing. FENSTER You guys got nothing on me. Where's your probable cause? VOICE (O.S.) You're a known hijacker. You're sweating like a guilty motherfucker. That's my p.c. Save us the time. Tell us where the truck is. Fenster knocks on the table. FENSTER HELLO? Can you hear me in the back? P.C. He looks under his chair. FENSTER Where is it? I'm lookin'. It's not happening. What's going on with that? I want - INT. INTERROGATION ROOM Hockney's turn in the chair. He laughs it all off. HOCKNEY - my lawyer. I'll have your badge, cocksucker. OVERLAPPED: HOCKNEY I know you. You don't think I know you're on the take. This whole fucking precinct is dirty. You don't have a fucking leg to stand on. VERBAL (V.O.) Hockney was just a bad bastard. Good with explosives. Mean as a snake when it mattered. VOICE (O.S.) You think so, tough guy? I can put you in Queens the day of the hijacking. HOCKNEY I live in Queens. What the fuck is this? You come into my store and lock me up in front of my customers. What the hell is wrong with this country? Are you guys gonna charge me or what? VOICE (O.S.) You know what happens if you do another turn in the joint? HOCKNEY I'll fuck your father in the shower. Charge me, dick-head. INT. INTERROGATION ROOM Now Keaton sits in the chair, cool and indifferent. VERBAL (V.O.) Keaton was the real prize for them, for obvious reasons. VOICE (O.S.) I'll charge you when I'm ready. KEATON With what? VOICE (O.S.) You know damn well, dead-man. KEATON Hey, that was your mistake, not mine. Did you ever think to ask me? I've been walking around with the same face, same name - I'm a businessman, fellas. VOICE (O.S.) What's that? The restaurant business? Not anymore. From now on you're in the getting fucked-by-us business. I'm gonna make you famous, cocksucker. Keaton shows just a flicker of contempt. The threat has hit home. KEATON Like I said. It was all your mistake. Charge me with it and I'll beat it. Let's get back to the truck. A FIST flies into the frame and connects with Keaton's jaw. His head snaps back, blood flowing freely from his mouth. INT. CELL BLOCK Keaton is brought in to a holding area where he joins Fenster, Hockney, Verbal and McManus. He sits in a corner and keeps to himself. Fenster is in mid-tirade. FENSTER Somebody should do something. What is this shit - getting hauled in every five minutes? Okay, so I did a little time, does that mean I get railed every time a truck finds its way off the planet? McManus is silently staring at Keaton, who sits on a bench, looking away. HOCKNEY These guys got no probable cause. FENSTER You're fuckin' A right, no P.C. Well screw P.C. No right. No goddamn right. You do some time, they never let you go. Treat me like a criminal, I'll end up a criminal. HOCKNEY You are a criminal. FENSTER Why you gotta go and do that? I'm trying to make a point. KEATON Then make it. Christ, you're making me tired all over. McManus looks at Keaton. MCMANUS I heard you were dead, Keaton. KEATON You heard right. HOCKNEY The word I got is you hung up your spurs, man. What's that all about? MCMANUS What's this? HOCKNEY Rumor has it, Keaton's gone straight - cleaning house. I hear he's tapping Edie Finneran. MCMANUS Who? HOCKNEY She's a heavy-weight criminal lawyer from uptown. Big-time connected. She could erase Dillinger's record if she tried. I hear she's Keaton's meal ticket. (To Keaton) Is it true? MCMANUS What about it, Keaton? You a lawyer's wife. What sort of "retainer" you giving her? Keaton shoots McManus a fiery glare. FENSTER I'd say you've gotten on his main and central nerve, McManus. KEATON Do your friend a favor, Fenster, keep him quiet. MCMANUS You're clean, Keaton? Say it ain't so. Was it you that hit that truck? FENSTER Forget him. It's not important. I was trying to make a point. KEATON (Ignoring McManus) This whole thing was a shakedown. MCMANUS What makes you say that? KEATON How many times have you been in a lineup? It's always you and four dummies. The P.D. pays homeless guys ten bucks a head half the time. No way they'd line five felons in the same row. No way. And what the hell is a voice line-up? A public defender could get you off of that. FENSTER So why the hell was I hauled in and cavity searched tonight? KEATON It was the Feds. A truck load of guns gets snagged, Customs comes down on N.Y.P.D. for some answers - they come up with us. They're grabbing at straws. It's politics - nothing you can do. FENSTER I had a guy's fingers in my asshole tonight. HOCKNEY Is it Friday already? FENSTER Fuck you. I'll never shit right again. So who did it? Own up. KEATON I don't want to know. MCMANUS Nobody asked you, workin'-man. HOCKNEY Fuck who did it. What I want to know is, who's the gimp? ALL EYES suddenly turn on Verbal. He has been quietly listening the whole time without uttering a word. KEATON He's alright. HOCKNEY How do I know that? How about it, pretzelman? What's your story? KEATON His name is Verbal Kint. I thought you guys knew him. MCMANUS Verbal? VERBAL Roger really. People say I talk too much. HOCKNEY Yeah, I was gonna tell you to shut up. KEATON We've met once or twice. Last time was in... VERBAL County. I was in for fraud. KEATON You were waiting for a line-up then, too. What happened with that? VERBAL I walked. Ninety days, suspended. HOCKNEY So you did it? VERBAL To your mother's ass. Verbal looks away from Hockney, awaiting a violent response. Everyone slowly starts to laugh. Hockney looks as if he is about to boil in his own skin. KEATON (To Hockney) Let it go. Verbal smiles at Keaton appreciatively. McManus stands and walks to the toilet in the corner of the cell. He starts taking a leak; MCMANUS Look, we've all been put out by this, I figure we owe it to ourselves to salvage a little dignity. Now Fenster and I got wind of a possible job - KEATON Why don't you just calm down' HOCKNEY What do you care what he says? MCMANUS Yeah, I'm just talking here, and Hockney seems to want to hear me out. I know Fenster is with me - (to Verbal) How about you, guy? McManus finishes pissing. VERBAL I'm interested, sure. MCMANUS There, so you see, I'm going to exercise my right to free assembly. McManus taps the bars of his cell and the others LAUGH. KEATON I'm not kidding. Shut your mouth. MCMANUS You're missing the point. KEATON No, you're missing the point. Shut up. I don't want to hear anything you have to say. I don't want to know about your "job". Just don't let me hear you. I want nothing to do with any of you - (beat) I beg your pardon but all of you can go to hell. MCMANUS Dean Keaton, gone the high road. What is the world coming to? McManus and Keaton stare at one another for a long and tense moment. Finally McManus turns to the others. MCMANUS Forget him then. (whispering) Now I can't talk about this here in any detail, but listen up... Everyone but Keaton gravitates toward McManus's cell as he begins to speak in low, hushed tones. VERBAL (V.O.) And that was how it began. The five of us brought in on a trumped-up charge to be leaned on by half-wits. What the cops never figured out, and what I know now, was that these men would never break, never lie down, never bend over for anybody... Anybody. EXT. PIER - DAY - SAN PEDRO - PRESENT DAY It is morning in the aftermath of the opening scene. Harsh sunlight shines on a line of body bags on the dock. Police swarm everywhere, photographers are taking pictures of the scene while a team of men in rolled up sleeves and plastic gloves pick at the remains. Two men on a fire boat operate a water cannon, dousing the smoldering remains of a burned-out ships hull. Watching this from the edge of the pier is a man in a dark suit. He is SPECIAL AGENT JACK BAER of the F.B.I. He is tall and fit, in his late thirties. He gazes out over the water thoughtfully. A UNIFORM COP trots up to him. COP Who are you? Baer holds up his badge without looking at the man. BAER Agent Jack Baer, F.B.I. How many dead? Before the cop can answer, Baer turns and walks along the line of body bags. COP Fifteen so far. We're still pulling some bodies out of the water. Baer eyes the corpses on the dock, burned beyond recognition. COP Looking for anyone in particular? Baer looks at the cop for the first time, unamused. BAER I don't want any of the bodies taken away until I've had a chance to go over this, understood? COP I have to clear the scene. I've got word direct from the Chief. Baer lights a cigarette, only half listening. BAER (unimpressed) Yes, the chief. Spooky stuff. Any survivors? COP Two. There's a guy in county hospital, but he's in a coma. The D.A. has the other guy - A cripple - from New York I think. Listen, the Chief said - BAER Excuse me. Baer walks away from the cop, ignoring him completely. He wanders through the carnage on the pier. EXT. OCEAN A half mile out from the pier. The sea is choppy, stirred by the wind. An object floats into view a few feet away, bobbing in the water. It is A DEAD BODY - a man, face down, wearing a CHECKERED BATHROBE. He drifts quietly toward the open ocean. INT. HEARING ROOM - DAY - LOS ANGELES PRESENT Verbal Kint sits in a chair in front of a microphone attached to a tape recorder, his brow beaded with sweat. On the wall behind him is the seal of the STATE OF CALIFORNIA. He is cleaner, better kept, in a well-cut suit and neatly trimmed hair. He looks older than he did in New York - worn down. A flurry of voices banter off screen. Verbal's eyes follow the voices back and forth. VOICE #1 (O.S.) My client offers his full cooperation in these proceedings. In exchange, his testimony is to be sealed and all matters incriminating to himself are to be rendered inadmissible. VOICE #2 (O.S.) The district attorney's office will comply provided - VOICE #1 No provisions, nothing. My clients testimony for his immunity. VOICE #2 May-I be frank, Counselor? I suspect your political power as much as I respect it. I don't know why Mr. Kint has so many faceless allies in City Hall, and I don't care. The embarrassment he helped cause the city of New York will not happen here. VOICE #1 Immunity. VOICE #2 Counselor, I will prosecute your client. VOICE #1 Then prosecute. I will be very impressed to see if the District Attorney manages to bring in twenty- seven simultaneous counts of murder against one man with cerebral palsy. I would think a man with your job would agree with these alleged "faceless people in City Hall" you mention. VOICE #2 One would think the counsel is veiling a threat. VOICE #1 Counsel isn't veiling anything. VOICE #2 I'll take my chances then. I'll feel safer without a job if a man like Mr. Kint is behind bars. VOICE #1 Mr. Kint will plead guilty to weapons possession. VOICE #2 You're joking. VOICE #1 Weapons. Misdemeanor one. VOICE #2 Counselor, you're insulting me. VOICE #1 Counselor, you're bluffing. Shall I push for misdemeanor two? Voices mumble off screen. Verbal fidgets in his chair. VOICE #2 Misdemeanor one. Fine. This is ludicrous. A tiny smile and a genuine look of disbelief flash across Verbal's face. VOICE #2 (clearing throat) As for the rest of the charges grand larceny, arson... murder - the district attorney will accept the subject's testimony in connection with the above mentioned events and in exchange will offer complete immunity. The transcript... The transcript of said testimony will be sealed and all matters incriminating to Mr. Kint will be rendered inadmissible. Verbal lets out a long-held sigh of relief. INT. POLICE STATION - HALLWAY - DAY David Kujan is walking quickly beside SERGEANT RABIN, a dark and weathered looking man in his late thirties. They move up a staircase into the heart of police headquarters. KUJAN What do you mean I can't see him? RABIN The D.A. came down here last night ready to arraign before they even moved him to county. Kint's lawyer comes in and five minutes later, the D.A. comes out looking like he'd been bitchslapped by the boogey man. They took his statement and cut him a deal. KUJAN Did they charge him with anything? RABIN Weapons. Misdemeanor two. KUJAN What the fuck is that? Rabin motions for Kujan to lower his voice. He points out that they are walking through a bullpen filled with desks where a number of other police are working within earshot. RABIN I give the D.A. credit for getting that much to stick. This whole thing has turned political. The Mayor was here - the chief - the Governor called this morning, for Christ's sake. This guy is protected - From up on high by the prince of fucking darkness. KUJAN When does he post bail? RABIN Two hours, tops. KUJAN I want to see him. Rabin comes to an office door with his name on it. He opens it and lets Kujan in before following. INT. RABIN'S OFFICE RABIN Dave, please. Rabin's office can only be described as a disaster area. The desk is cluttered with weeks, perhaps months or even years of paperwork that could never conceivably be sorted out. Above his desk is a bulletin board. It is a breathtaking catastrophe of papers, wanted posters, rap-sheets, memos and post-its. This is in the neighborhood of decades. Rabin is a man with a system so cryptic, so far beyond the comprehension of others, he himself is most likely baffled by it. RABIN Even if I was to let you talk to him, he won't talk to you. He's paranoid about being recorded and he knows the interrogation rooms are wired. KUJAN This won't be an' interrogation, just a... friendly chat to kill time. RABIN (enunciating) He won't go into the interrogation room. KUJAN Someplace else, then. RABIN Where? Kujan looks around Rabin's messy office. RABIN No, no, no, no, no. KUJAN If it was a dope deal, where's the dope, if it was a hit, who called it in? RABIN And I am sure you have a host of wild theories to answer these questions. KUJAN You know damn well what I think. RABIN That's crazy, Dave and it doesn't matter. He has total immunity and his story checks out. He doesn't know what you want to know. KUJAN I don't think he does. Not exactly, but there's a lot more to his story. I want to know why twenty-seven men died on that pier for what looks to be ninety-one million dollars worth of dope that wasn't there. Above all, I want to be sure that Dean Keaton is dead. RABIN He's dead. KUJAN Two hours. Just until he makes bail. RABIN They're all dead. No matter how tough you say this Keaton was, no one on that boat could've made it out alive. INT. HOSPITAL - DAY A door marked INTENSIVE CARE. The door BURSTS OPEN. SUDDENLY, the hallway is a flurry of activity. DOCTOR LISA PLUMBER, age fifty, walks quickly beside JACK BAER. Baer walks with all of the determination of a battalion of Chinese infantry. DOCTOR RIDGLY WALTERS, a young intern in his late twenties rushes up to them. PLUMBER Ridgly, this is Special Agent Jack Baer from the F.B.I. Agent Baer, this is Doctor Ridgly Waiters. RIDGLY Nice to meet you. BAER Is he talking? RIDGLY He regained consciousness less than an hour ago. He spoke - not English - then he lapsed. BAER Hungarian? RIDGLY I don't... BAER It was Hungarian. Most of them were Hungarians. Any fluent Hungarians on your staff? RIDGLY We have a Turkish audiologist. Ridgly opens a door and Baer barrels through. INT. HOSPITAL ROOM (<<..>> DENOTES LINES SPOKEN IN HUNGARIAN) Baer comes to an abrupt halt at the foot of a bed surrounded by a massive tangle of medical equipment. In the center of it all is the as yet unnamed ARKOSH KOVASH, mid-thirties. His body is nearly mummified in bandages and plaster from waist to chin. BOLD IS OVERLAPPED: KOVASH <> BAER Will he die? PLUMBER There's a chance. Baer walks over to Rovash and kneels down on the bed beside him. He looks closely at his battered and scalded face. He listens to him far a moment. Kovash goes on incessantly. KOVASH <> Baer pulls a cellular phone out of his jacket and dials. BAER Call hospital security and put a man on the door until the police get here. KOVASH <> Ridgly runs out of the room. Kovash babbles louder and louder, trying to get Baer's attention. Baer sticks a finger in one ear to block him out and hear the phone. PLUMBER Is he dangerous? BAER Yes. Someone picks up on the other end of the phone. BAER Joel, it's Baer. I'm down at L.A. county. The guy they pulled out of the harbor is ARKOSH Kovash... Yes, I'm sure... No, he's all fucked up... What? I can't hear you. (to Arkosh) Shut up, Hugo, I'm on the phone. (into Phone) Yes... No... Not until I put someone on him. Listen, I need you to send me someone who can speak Hungarian. He's awake and talking like a Thai hooker... How should I know? Get me someone who can talk to him - Baer is suddenly distracted by something Kovash has said. In the middle of a long string of unintelligible dialect, he has spouted two words that have gotten Baer's attention. He turns and looks down at the tattered man in the bed. Kovash realizes Baer is listening and says the two words again. KOVASH Keyser - Soze. BAER What? He waves his hand, gesturing for Kovash to say it again. KOVASH Keyser - Soze. BAER No shit? (into Phone) Joel, call Dan Metzheiser over at Justice and find Dave Kujan from Customs. INT. HALLWAY - POLICE STATION Rabin walks out of a small room. Behind him, we catch a glimpse of a workroom with a bench covered with wires. Kujan comes out a moment later, gently fixing his tie. Rabin opens the door to his office and Kujan enters. Rabin follows, looking up and down the hall before closing the door behind them. As the door closes we can just make out the back of Verbal's head. He is seated in Rabin's office, smoking a cigarette. INT. RABIN'S OFFICE Kujan and Rabin sit down across from Verbal. KUJAN (exasperated) Verbal, you know we're trying to help you. VERBAL Sure. And I appreciate that. And I want to help you, Agent Kujan. I like cops. I would have liked to have been a Fed myself but my C.P. was - KUJAN Verbal, I know you know something. I know you're not telling us everything. VERBAL I told the D.A. everything I know. INT. WORKSHOP Rabin stands over LOUIS, a messy looking technician at his workbench in a room full of electronic equipment. He adjusts several dials on a receiver until the voices of Kujan and Verbal come clearly through a tinny speaker on the wall. Rabin reaches over for a nearby pot of coffee. KUJAN (VOICE) I know you liked Keaton. I know you think he was a good man. VERBAL (VOICE) I know he was good. KUJAN He was a corrupt cop, Verbal. INT. RABIN'S OFFICE VERBAL Sure. Fifteen years ago, but he was a good thief anyway. The cops wouldn't let him go legit. KUJAN Keaton was a piece of shit. VERBAL You trying to get a rise out of me, Agent Kujan? KUJAN I just want to hear your story. VERBAL It's right here. He taps a finger on the stack of paper that Kujan brought in. Kujan picks it up and thumbs through it. KUJAN According to your statement you are a short-con operator. Run of the mill scams. Everything you do, you learned from somebody else. VERBAL That's been suppressed. Anything in there is inadmissible. KUJAN Oh, I know. Sweet deal you have. Total immunity. VERBAL (laughing) Well I do have the weapons charge. I'm looking at six whole months hard time. KUJAN (smiling) You know a dealer named Ruby Deemer, Verbal? VERBAL You know a religious guy named John Paul? KUJAN You know Ruby is in Attica? VERBAL He didn't have my lawyer. KUJAN I know Ruby. He's very big on respect. Likes me very much. Verbal sees this getting to something. His smiles fades. KUJAN Now I know your testimony was sealed. Ruby is well connected. He still has people running errands for him. What do you think he'd say if he found out you dropped his name to the D.A.? VERBAL There's nothing in there about Ruby. KUJAN I'll be sure to mention that to him. Verbal is not smiling anymore. He stares at Kujan with utter contempt, knowing he is being shafted. KUJAN The first thing I learned on the job, know what it was? How to spot a murderer. Let's say you arrest three guys for the same killing. Put them all in jail overnight. The next morning, whoever is sleeping is your man. If you're guilty, you know you're caught, you get some rest - let your guard down, you follow? VERBAL No. KUJAN I'll get right to the point. I'm smarter than you. I'll find out what I want to know and I'll get it from you whether you like it or not. VERBAL I'm not a rat. Kujan puts his hand on the transcript of Verbal's confession. Rabin walks in with a cup of coffee. Verbal takes it with his good hand and sips it with a relish. VERBAL Ahhh. Back when I was picking beans in Guatemala we used to make fresh coffee. Right off the trees I mean. That was good. This is shit, but hey... RABIN Can we get started again? KUJAN Now what happened after the line-up? Verbal sneers at Kujan, unable to change the subject. EXT. POLICE STATION - NIGHT - NEW YORK - SIX WEEKS PRIOR Keaton stops at the top of the front steps of the police station and lights a cigarette. Edie comes out behind him, fuming mad. EDIE ...and the desk Sergeant is actually trying to tell me he can't release you? Can you believe that? You weren't even charged. New York police - Jesus. I want to take pictures of your face to bring to the D.A. first thing in the morning. KEATON Just forget about it. He looks across the street and sees Fenster and McManus talking by a newsstand. McManus is thumbing through magazines. EDIE Absolutely not. Keaton looks to his right and sees Hockney trying to hail a cab. EDIE I'll have this thing in front of a grand jury by Monday. KEATON Edie, please. I don't want to hear this right now. What did Renault and Fortier say? EDIE They want more time to think about investing. KEATON Goddamnit. EDIE They just said they wanted time. KEATON Time for what, Edie? Time to look into me a little more, that's what. No matter how well you cover my tracks now, they'll find out who I am. EDIE Give me some credit. I got you this far, let's go to the grand jury. This is never going to stop if we - KEATON No. It's never going to stop, period. It won't take more than a week before every investor in this city is walking away from us. It's finished. I'm finished. Just then, Verbal bumps into him on his way out the door. He excuses himself and hobbles down the steps, oblivious to who he has bumped into as he tries to navigate the stairs. EDIE Don't give up on me now, Dean. KEATON They'll never stop. EDIE I love you. KEATON (to himself) They ruined me tonight. EDIE Dean, I love you. Do you hear me? Verbal gets to the sidewalk and stops. He turns, realizing it is Keaton on the steps. EDIE Let's just go to my place. We'll worry about this tomorrow. Keaton and Verbal look at one another for a moment. Keaton then looks over to the newsstand and sees Fenster looking at him. KEATON Huh? McManus notices Fenster and glances up from his magazine to see what he is looking at. EDIE Come home with me, please. Dean? Keaton looks at Hockney who has one foot in a cab. He is looking at Fenster and McManus who are looking at Keaton. This makes Hockney look up at Keaton as well. SUDDENLY, Edie tunes in to what is going on. She notices the others on the street. She reaches over and takes Keaton by the arm, pulling gently. She glares at the others. EDIE Come home, Dean. KEATON (distant) Alright. Verbal looks at everyone else from where he stands on the street. Fenster, McManus and Hockney all look at him and then at each other. It is a strange moment of unspoken understanding. All eyes finally turn to Keaton, high on the front steps of the police station as he walks away with Edie. INT. HALLWAY - DAY Verbal stands in front of an apartment door. He hesitates for a long moment before he knocks. After a moment, the door opens and Keaton stands on the other side of it. He is wearing a bathrobe and smoking a cigarette. He looks at Verbal without any expression whatsoever. KEATON What are you doing here! How did you find me? VERBAL I just asked one of the detectives downtown. He seemed pretty happy to tell me. Keaton curses under his breath and motions for Verbal to come in. INT. EDIE'S APARTMENT Verbal walks in and sits down on the couch, watching Keaton cautiously. He looks around the large apartment, beautifully furnished and decorated. Edie walks into the room in a man's button-down shirt and sweat pants. EDIE Dean, who was at the -- She stops when she sees Verbal. Verbal stands and smiles nervously. VERBAL How do you do? KEATON Verb - Roger, this is Edie Finneran. Edie, this is Roger Kint, he was at -- EDIE (cold) I know who he is. VERBAL I hope I didn't disturb you. EDIE I hope so, too, Mr. Kint. Can I get you something to drink? VERBAL A glass of water would be nice. Edie shoots a look at Keaton on her way out of the room. Keaton tries to hush his voice despite his anger. KEATON What the hell do you want? VERBAL I wanted to talk to you. The other guys - KEATON I did you a favor by standing up for you last night, but don't think we're friends. I'm sorry, but I have other things - VERBAL They're gonna do a job. Three million dollars, maybe more. Keaton is speechless. Verbal sits on the couch again. VERBAL They sent me to offer you a cut. We could use a fifth man - a driver - That's all you'll do. Edie walks in with a glass of ice water and hands it to Verbal. VERBAL Thank you. Verbal drinks slowly. Edie stands over him, her face blank. It is an awkward moment. She deliberately makes Verbal uncomfortable. Long pause - finally: EDIE So what is it you do, Mr. Kint? VERBAL Umm... EDIE A hijacker like Dean, here? Or something more creative? KEATON That's enough, Edie. EDIE (angry) I don't know what you came here for, but we won't have any part of it. KEATON Edie, please. Keaton takes Edie by the arm and tries to guide her toward the other room. She pulls away, anger turning to rage. EDIE I've spent the last year of my life putting his back together again - I won't have you come in here and - What makes you think - GET OUT. GET OUT OF MY HOME. HOW DARE YOU COME HERE? Keaton is pulling her now. She yanks her arm away and shoves him. EDIE Don't touch me. Just don't -- She turns and walks out of the room. Somewhere in the back of the apartment, a door slams. Keaton turns and glares at Verbal. Verbal cringes. KEATON Get out. VERBAL If you'll just let me - SUDDENLY, KEATON LUNGES. He grabs Verbal by the lapels and lifts him off the couch, moving him effortlessly across the room and slamming him into the wall next to the front door. He opens it. VERBAL Don't hurt me. KEATON (seething) Hurt you, you sonofabitch? I could kill you. Keaton starts to shove Verbal out the door. VERBAL (Quickly) They're going to hit the Taxi Service. Keaton freezes. LONG PAUSE. VERBAL New York's Finest Taxi Service. KEATON They - That's bullshit. They don't operate anymore. VERBAL McManus has a friend in the Fourteenth Precinct. They're coming out for one job - Thursday. They're picking up a guy smuggling emeralds out of South America. Fenster and McManus have a fence set to take the stuff. KEATON What fence? Who? VERBAL Some guy in California. His name is Redfoot. KEATON Never heard of him. Keaton moves to throw Verbal out. Verbal grabs Keaton and holds tight. VERBAL You have to come. KEATON What's with you? What do you care whether I come or not? VERBAL They - They don't know me. You do. They won't take me unless you go. Look at me. I need this. KEATON Tough break. VERBAL Don't tell me you don't need this. Is this your place? Keaton is unable to answer. VERBAL They're never going to stop with us, you know that. This way we hit the cops where it hurts and get well in the mean time. Keaton lets Verbal go and steps back, thinking. VERBAL As clean as you could ever get, they'll never let you go now. I'm not knocking you. You look like you've got a good little scam going with this lawyer - WHAM. Keaton punches Verbal in the stomach and drops him to one knee. Verbal coughs and tries to find his breath. KEATON You watch your mouth. VERBAL (Gasping) Okay, okay. You say it's the real thing? That's cool. Keaton reaches for Verbal. Verbal flinches. Keaton gently helps him up and guides him to the couch. They bath sit. Keaton reaches for a pack of cigarettes and lights one for each of them. KEATON I apologize. Verbal takes one and has a few drags, catching his breath and rubbing his stomach in pain. Finally: VERBAL I was out of line. KEATON You okay? VERBAL I'll be alright. KEATON Well, I'm sorry. VERBAL Forget it. (beat) I'll probably shit blood tonight. Keaton laughs. Verbal thinks about it for a moment and laughs with him. Keaton's laughter trails off. He thinks for a moment. KEATON How are they going to do it? VERBAL McManus wants to go in shooting. I said no way. KEATON Fenster and Hockney? VERBAL They're pretty pissed off. They'll do anything. Now I got a way to do it without killing anyone: but like I said, they won't let me in without you. KEATON Three million? VERBAL Maybe more. KEATON No killing? VERBAL Not if we do it my way. Long pause: KEATON (Lost in thought) I swore I'd live above myself. Verbal smiles, knowing he has him. EXT. KENNEDY AIRPORT - DAY VERBAL (V.O.) New York's finest Taxi Service was not your normal taxi service. It was a ring of corrupt cops in the N.Y.P.D. that ran a high-profit racket, driving smugglers and drug dealers all over the city. For a few hundred dollars a mile, you got your own black and white and a police escort. They even had their own business cards. OSCAR WHITEHEAD, a tall gray-haired man in his fifties comes out of the international terminal in a white linen suit. He holds a large suitcase in his right hand. VERBAL (V.O.) After a while, somebody started asking questions and the taxi service shut down. Ever since then, Internal Affairs had been waiting to catch them in the act. Oscar stands on the curb long enough to light a cigarette. After a moment, a POLICE CRUISER pulls up to him. He opens the back door and gets in. VERBAL (V.O.) And that was how we started. McManus came to us with the job; Fenster got the vans; Hockney supplied the hardware; I came through with how to do it so no one got killed - but Keaton - Keaton put on the finishing touch. A little "Fuck you" from the five of us to the N.Y.P.D. The car drives out of the airport. A VAN follows at a distance. INT. POLICE CAR SERGEANT JIM STRAUSZ, a meaty, imposing looking man in his forties drives the car. Beside him is a thin, greasy looking PATROLMAN, STEVE RIZZI. They are two drivers for New York's Finest Taxi Service. RIZZI How was the flight? Oscar hands Rizzi a thick envelope. OSCAR Will that get me to the Pierre? Rizzi counts the stack of hundred dollar bills in the envelope. RIZZI That'll get you to Cape God. The two men laugh. Strausz watches the road, expressionless. EXT. HIGHWAY The cruiser heads towards the heart of Manhattan. EXT. STREET - LATER The police car makes its way down a wide, abandoned street. A WHITE MINIVAN pulls out behind it and heads the same way. INT. POLICE CAR Strausz looks in the rear-view mirror. The white minivan is flashing his high-beams. STRAUSZ What the... RIZZI LOOK OUT. Strausz looks in front of him. A green minivan swerves in front of them from out of nowhere. Strausz slams on the brakes and skids to a halt. The white minivan rams them from behind. Strausz and Rizzi are stunned for a moment as two more vans screech up on either side of the cruiser, boxing it in with only a few inches between them. The cruiser is surrounded on all sides. SUDDENLY, SHOTGUN BARRELS come through the open windows. They come to rest, one on Strausz's left temple one on Rizzi's right. RIZZI looks out of the corner of his eye. He sees the driver of the van next to him holding the shotgun with one hand. A stocking is over the driver's head. Strausz looks straight ahead. The minivan in front of them is missing a back window. Another man with a stocking on his head aims a sub-machine gun at them from inside. By the twisted right hand holding the front of the gun, we know it is Verbal. Strausz and Rizzi raise their hands without being asked. EXT. STREET The driver of the white van gets out with a gallon jug in one hand and a sledge hammer in the other. Moving like lightning, he jumps onto the roof of the police car He stands on the front of the roof and swings the hammer down. INT. POLICE CAR SMASH The hammer punches three huge holes in the windshield and finally caves it in. Strausz and Rizzi are covered with pebbles of broken glass. Whitehead clutches his bag in the back seat. He trembles in terror. The man standing on the roof doubles over and sticks a gun in Strausz's face. His face hangs upside down and looks gruesome - covered from the mouth up in a stocking. By the voice, we know it is McManus. MCMANUS GIVE ME THE SHIT. STRAUSZ Give it up. Oscar hands the suitcase up front and Strausz passes it to McManus. INT. FRONT VAN Through the front windshield of the front van we see Keaton at the wheel. Verbal is behind him leaning out the back window. Beneath Keaton's stocking mask we see he is trembling and sweating - sickened by what he is doing. He glances up at the rear-view mirror and looks at the scene outside. He looks down at the floor in shame, shaking his head. INT. POLICE CAR McMANUS The money. Strausz looks at Rizzi. MCMANUS THE MONEY. LET'S HAVE IT. Rizzi hands the money through the remains of the windshield. McManus takes the money and stuffs it in his jacket. He steps back and takes the cap off of the gallon jug. He quickly pours some kind of liquid all over the roof of the car. STRAUSZ Do you know who I am? A hand reaches into the driver's side window and rips Strausz's badge off of his shirt. Strausz dares to turn his head right at the shotgun pointing at him through the window. On the other end is a masked and smiling Todd Hockney. HOCKNEY We do now, Jerk-off. McManus lights a pack of matches and drops them on the roof of the car as he jumps off. THE LIQUID IGNITES, the roof of the car is instantly in flames. Strausz and Rizzi attempt to bail out, but the vans are too close for them to open the doors. The vans pull away. Strausz and Rizzi escape from the car. Oscar is trapped inside, SCREAMING. Strausz and Rizzi stop, each expecting the other to go let Oscar out. EXT. STREET - LATER The scene is swarming with fresh police cars. Strausz and Rizzi are fielding questions from a dozen other cops. Photographers are everywhere. VERBAL (V.O.) The papers got Keaton's call that day and were on the scene before the cops were. Strausz and Rizzi were indicted three days later. Within a few weeks, fifty more cops went down with them. It was beautiful. Everybody got it right in the ass, from the chief on down. INT. GARAGE - NIGHT Hockney, Fenster, McManus and Verbal are all laughing in a secluded garage. They are still in their black clothes from the robbery. Hockney is throwing everyone a can of beer. Keaton sits off by himself. He watches the others, unable to join in the festivities. The others sit around a cheap card table. It is covered with emeralds. Dozens of them. Everyone is in awe. MCMANUS There's more than I thought. HOCKNEY When does the fence come? MCMANUS Redfoot? He never comes to see me. I have to go see him. VERBAL In California? MCMANUS Yeah. It'll take a few days. Me and Fenster. HOCKNEY Hold the fuckin' phone. You and Fenster? No, no, no. MCMANUS Guys, come on. HOCKNEY I'm sure you can understand my hesitation. FENSTER Then who goes? HOCKNEY We all go. How about it, Keaton? All eyes turn to Keaton. He comes out of his trance. KEATON We need to lay low for a while. MCMANUS Fine with me. PAUSE Everyone looks at each other, their moment of distrust blowing over. All eyes drift back to the emeralds on the table. Hockney begins to snicker, then McManus, then Fenster. Verbal joins in at last. McManus grabs Verbal and hugs him, shaking him violently. MCMANUS My boy with the plan. SUDDENLY, everyone yells and pours beer over Verbal's head. He laughs as he is drenched in white foam, nearly choking as the others chant his name. Keaton watches from across the room, trying to smile in vain. INT. WAITING ROOM - LAW OFFICE - DAY Keaton and Verbal sit side by side on a sofa. A sign on the door behind them reads: MONTGOMERY and LaGUARDIA - ATTORNEYS AT LAW. VERBAL We're going to miss the flight. KEATON We'll make it. VERBAL Don't do this. Send her a card - something. KEATON We'll make it. VOICE (O.S.) Ms. Finneran will be with you in a moment. Keaton stands and paces across the waiting room. He comes to a set of glass doors and looks through them. Keaton realizes he is standing on a balcony overlooking a library below. He sees Edie working in the library with an old woman. The two women talk for a moment. SUDDENLY, Keaton turns with a start. Verbal is standing behind him. VERBAL We're gonna miss the plane. (beat) She'll understand. Edie is smiling and laughing with the old woman. Keaton's face is marked with guilt and anguish. Keaton turns and walks out of the waiting room. Verbal takes one last glance at Edie and turns back to Keaton. INT. LIBRARY Edie seems to sense something behind her. She turns and looks through the glass doors and up into the waiting room. NOTHING IS THERE. She goes back to chatting with the old woman. INT. RABIN'S OFFICE -DAY - LOS ANGELES - PRESENT KUJAN Heartwarming. Really, I feel weepy. VERBAL You wanted to know what happened after the line-up, I'm telling you. KUJAN Oh come on, Verbal. Who do you think you're talking to? You really expect me to believe he retired? For a woman? Bullshit. He was using her. VERBAL He loved her. KUJAN Sure. And I'm supposed to believe that hitting the Taxi Service wasn't his idea either. VERBAL That was all Fenster and McManus. KUJAN Come on. Keaton was a cop for four years. Who else would know the Taxi Service better? That job had his name all over it. VERBAL You keep trying to lay this whole ride on to Keaton. It wasn't like that. Sure he knew, but Edie had him all turned around. I'm telling you straight, I swear. KUJAN Let me tell you something. I know Dean Keaton. I've been investigating him for three years. The guy I know is a cold-blooded bastard. L.A.P.D. indicted him on three counts of murder before he was kicked off the force, so don't sell me the hooker with the heart of gold. VERBAL You got him wrong. KUJAN Do I? Keaton was under indictment a total of seven times when he was on the force. In every case, witnesses either reversed their testimony to the grand jury or died before they could testify. When they finally did nail him for fraud, he spent five years in Sing Sing. He killed three prisoners inside - one with a knife in the tailbone while he strangled him to death. Of course I can't prove this but I can't prove the best part either. Kujan pauses to drink some coffee. KUJAN Dean Keaton was dead. Did you know that? He died in a fire two years ago during an investigation into the murder of a witness who was going to testify against him. Two people saw Keaton enter a warehouse he owned just before it went up. They said he had gone in to check a leaking gas main. It blew up and took all of Dean Keaton with it. Within three months of the explosion, the two witnesses were dead, one killed himself in his car and the other fell down an open elevator shaft. INT. WORKSHOP Rabin and Louis look at one another as they listen. KUJAN (on speaker) Six weeks ago I get an anonymous call telling me I can find Keaton eating at Mondino's with his lawyer, and there he is. Now because he never profited from his alleged death and because someone else was convicted for the murder we tried to pin on Keaton, we had to let him go. INT. RABIN'S OFFICE KUJAN He was dead just long enough for a murder rap to blow over, then he had lunch. VERBAL I don't know about that. KUJAN I don't think you do. But you say you saw Keaton die. I think you're covering his ass and he's still out there somewhere. I think he was behind that whole circus in the harbor. My bet is he's using you because you're stupid and you think he's your friend. You tell me he's dead, so be it. I want to make sure he's dead before I go back to New York. VERBAL (Blurting) He wasn't behind anything. It was the lawyer. KUJAN What lawyer? Pause. KUJAN What lawyer, Verbal? Verbal stammers for a moment, looking around wildly. VERBAL Back when I was in that barber shop quartet in Skokie, Illinois I used to have. Kujan grabs Verbal's shirt and yanks him half out of his seat. KUJAN You think I don't know you held out on the D.A.? What did you leave out of that testimony? I can be on the phone to Ruby Deemer in ten minutes. VERBAL The D.A. gave me immunity. KUJAN NOT FROM ME, YOU PIECE OF SHIT. THERE IS NO IMMUNITY FROM ME. You atone with me or the world you live in becomes the hell you fear in the back of your tiny mind. Every criminal I have put in prison, every cop who owes me a favor, every creeping scumbag that works the street for a living, will know the name of Verbal Kint. You'll be the lowest sort of rat, the prince of snitches, the loudest cooing stool pigeon that ever grabbed his ankles for the man. Now you talk to me, or that precious immunity they've seen so fit to grant you won't be worth the paper the contract put out on your life is printed on. Verbal looks at Kujan with utter contempt. VERBAL There was a lawyer. Kobayashi. KUJAN Is he the one that killed Keaton? VERBAL No. But I'm sure Keaton's dead. KUJAN Convince me. Tell me every last detail. INT. HOSPITAL - DAY (<<..>> DENOTES LINES SPOKEN IN HUNGARIAN) Kovash's room is now filled with people. Jack Baer stands next to DANIEL METZHEISER, a balding man in his forties. Next to him is Doctor Plumber. Across from her is Ridgly Walters. Sitting beside the bed is TRACY FITZGERALD, a casually dressed woman in her late twenties. She holds a 15x20 inch drawing pad on her lap. Police fill the hall. People are talking loudly outside. LIONEL BODI, a cop in his mid-twenties pushes his way in. BAER Are you the translator? BODI Patrolman Lionel Bodi, sir. PLUMBER Agent Beer, this is getting out of hand. BAER I'll see to it we're gone before he blows his porch light, Doctor. Baer gestures to Tracy. BAER (to Bodi) This is Tracy Fitzgerald. She's a composite sketch artist from county. The young couple smile at one another nervously. BODI Hi. TRACY Hi. METZHEISER (impatient) I've got a noon meeting, Baer. PLUMBER Agent Baer, please. BAER Everyone calm down. (to Bodi) Ask this man about the shoot-out in the harbor. BODI <> Kovash smiles with relief when he hears his own language. KOVASH <> BODI <> KOVASH <> BODI He says they were buying. It doesn't make sense. I'm sorry, I'm a little rusty. They were there to buy something. BAER Dope, we know. KOVASH <> BODI Not dope. Something else. Some what?. He doesn't know what they were buying. But not dope... people. KOVASH <> METZHEISER Your witness is whacked, Baer. BODI He says he'll tell us everything he knows if we protect him. BAER Tell him fine. BODI <> KOVASH <> BODI No good. He needs guarantees. He says... his life is in danger... He has seen the Devil... looked him in the eye. METZHEISER I'll be on my way. Baer grabs Metzheiser by the arm. BAER (to Bodi) Tell him to tell this man what he was telling me before. Who is the Devil? Who did he see? BODI <> KOVASH <> Metzheiser is suddenly interested. BODI He says he saw him in the harbor. He was shooting... Killing... Killing many men. METZHEISER Did he say Keyser Soze? He saw Keyser Soze? KOVASH <> BODI He says he knows his face. He sees it when he closes his eyes. METZHEISER Ask him what this Devil looks like. BAER (to Tracy) Ready? Tracy holds up her pad and pencil. She nods. EXT. LOS ANGELES SKYLINE - DAY - FIVE WEEKS PRIOR VERBAL (V.O.) McManus' fence was this guy named Redfoot. He had a good reputation around L.A. Seemed like a good guy - Looked like a cowhide full of thumbtacks. EXT. FRIENDSHIP BELL - NIGHT All five guys stand in a group. It is utterly quiet. An old but well kept Cadillac creeps into the lot from the far end and idles up to them. The windows are tinted too much to see in. The car passes within a few feet of them and drives on. A moment later, a chrome and leather monster of a Harley Davidson pulls into the lot. The rider is dressed in an almost comical array of leather, silver and suede. He waves to the Caddy as it parks a few yards from Keaton and the others. It sits quietly, almost menacing. As he gets closer, we can see he is wearing one black boot and one red. Keaton is still looking at them when the bike pulls up to them and stops. REDFOOT and McManus shake hands. REDFOOT How've you been? MCMANUS Good. You? REDFOOT Alright. How's it going, Fenster? FENSTER Getting by. REDFOOT You got it? McManus holds up a briefcase. Redfoot takes it and gets off the bike. He walks over to the Caddy. The door of the Caddy opens. Redfoot hands the case to someone inside that we cannot see. The door closes. KEATON (whispering) Snazzy dresser this guy. A moment later, the door of the Caddy opens again. Someone hands Redfoot a different briefcase and he walks back over to McManus. He hands him the case. McManus hands the case back to Hockney. Hockney opens it, revealing the stacks of money inside. REDFOOT You must be Keaton. MCMANUS Jesus, I'm sorry. Redfoot, this is Dean Keaton, that's Todd Hockney, and that's Verbal Kint. REDFOOT (to Verbal) The man with the plan. Verbal smiles. REDFOOT Are you guys interested in more work? McManus moves to answer, but Keaton cuts him off. KEATON We're on vacation. REDFOOT I've got a ton of work and no good people. MCMANUS What's the job? Keaton shoots McManus a foul look. McManus pretends not to notice. REDFOOT A jeweler out of Texas named Saul. He rents a suite at a hotel downtown and does free appraisals. Buys whatever he can. Word is he moves with a lot of cash. I'll take the merchandise, you keep the green. HOCKNEY Security? REDFOOT Two bodyguards. Pretty good. MCMANUS Give us time to check it out? REDFOOT I'd expect nothing less. MCMANUS We'll call you. REDFOOT Take your time. Enjoy L.A. KEATON A friend of mine in New York tells me you knew Spook Hollis. REDFOOT I hear you did time with old Spook. Yeah, he was a good egg. I used to run a lot of dope for him. Fuckin' shame he got shivved. KEATON I shivved him. Now McManus is shooting the angry look at Keaton. KEATON Better you hear it from me now than somebody else later. REDFOOT Business or personal? KEATON A little of both. REDFOOT Ain't it a crime? Call if you're interested. Redfoot fires up his bike and takes off with the Caddy close behind. MCMANUS (to Keaton) What's your fucking problem? KEATON One job, that was the deal. MCMANUS Take it as it comes, brother. KEATON This is bullshit. McManus laughs and walks away. Fenster and Hockney follow. Verbal turns to Keaton. VERBAL What is it Keaton? KEATON (distant) Something - I don't know. (shaking himself) I ever tell you about the restaurant I wanted to open? Keaton walks off. Verbal follows him in confusion. VERBAL (V.O.) L.A., was good for about two hours. We were from New York. There's no place to eat after one; you can't get a pizza that doesn't taste like a fried fruit-bat, and the broads don't want to know you if you don't look like a broad. Within a few days the last of us was ready to go back to N.Y., but Keaton wouldn't have it, so he really didn't have a choice. We went to work. INT. PARKING GARAGE - NIGHT McManus walks along a line of cars. He comes across a black Mercedes and stops. He looks down at the license plate and walks over to the next car, a green Honda. He pulls a slimjim out of his jacket and pops the lock on the Honda. He reaches in and opens the hood. He walks around and sticks his head in the engine. INT. VAN Verbal sits behind the wheel. Keaton is beside him. Hockney and Fenster are in the back. They all watch McManus from where they are parked a few dozen yards away. INT. PARKING GARAGE DING-DING The elevator bell sounds at the far end of the garage. The doors open. Two men in ill-fitting suits get out and look around cautiously. The first is TUCCI, a big bellied, white haired menace. The other is HIGHAM, lean and bad skinned. They are bodyguards and give it away by their every careful move. They turn back to the elevator and motion to someone inside. Out walks SAUL BERG, a slightly overweight man in his forties with an open collar silk shirt and a thick gold chain on his hairy chest. He carries a LARGE ALUMINUM BRIEFCASE. He lets his guards do the worrying. He walks straight to his car. Saul passes McManus under the hood of the Honda. He takes out his keys and pushes a button on his key chain. The Mercedes beeps three times and tells Saul his alarm is off. Tucci keeps an eye on McManus. Higham watches Saul. McManus pretends to tinker with the car's engine. He has put a pistol just inside the grill and keeps it within reach. The van on the other side of the garage starts and pulls out of the spot. It cruises over toward the Mercedes. Tucci sees the van. He and Higham are suddenly busy trying to keep track. They hear laughing behind them and turn around. FENSTER and HOCKNEY are walking towards them. They are sporting mustaches and sunglasses in addition to matching suits, each with loud plaid sport coats, decades out of style. Saul glances at Tucci and Higham. HIGHAM Just get in the car Saul. Under the hood of the Honda and out of sight, McManus pulls on a black ski mask. The van gets closer. HOCKNEY I get out of the car, and man if the thing wasn't wrecked. And I see this broad in the back seat with nothing on. Saul gets in the car quickly but calmly as Fenster and Hockney laugh and talk louder. They look drunk - The desired effect. HOCKNEY I'm laughing so hard I can't breathe - Tucci and Higham try to take it all in stride. Saul's reverse lights come on and he begins to back out of the spot. HOCKNEY ...And the fat guy comes out of the car with his pants on backwards and says - SUDDENLY, the van revs and screeches to a halt behind Saul's Mercedes, blocking him in. Hockney and Fenster drop the drunk act and snap to. They both pull out guns and start screaming. HOCKNEY DON'T MOVE, YOU FUCKERS. FENSTER RIGHT THERE. FREEZE. McManus comes up from under the hood. Tucci and Higham throw their hands in the air. Hockney and Fenster grab them and reach into their belts to get their guns. Keaton jumps out of the van and runs up to Saul's car, his face covered in a ski mask. He yanks on the door handle but it is locked. Saul sits in terror behind the wheel. Keaton pulls out a pistol and smashes the window with it. KEATON Give me the case. Saul reaches over for the case. Keaton trains the gun on him. SUDDENLY, Saul comes up with a pistol and points it at Keaton. Keaton sidesteps and grabs his wrist. The gun goes off into the fender of the Honda. Hockney and Fenster both look over at the sound of the gun. Tucci and Higham seize the opportunity. Tucci grabs Hockney, Higham grabs Fenster. The four men grapple for the guns. Fenster's gun falls to the floor. McManus picks it up. He trains a pistol on each bodyguard and takes a breath. They are some ten feet apart and moving erratically. Hockney and Fenster constantly fall in the line of fire. McManus walks around the four men, keeping a pistol trained on each of the guards. Finally he comes to an angle where they are all in front of him. One guard is a few feet away, the other is ten feet past him. McMANUS' P.O.V. The closer of the two moves in and out of the sights of the pistol in McManus' right hand, the one farther away does the same with the left. Verbal gets out of the van and moves towards them to help. BOOM Both of McManus' guns go off like one shot. Tucci and Higham collapse, each with a bullet in his head PAUSE The only sound is Saul grappling with Keaton for the gun. His arm is halfway out the window. His elbow rests in the door frame. Keaton cannot get the gun out of his hand. Finally, he pushes down with all his weight. Saul's elbow breaks backwards on the door frame. He screams in agony. The gun falls from his hand. All five of the men look at each other for an impossibly long moment. The confusio