"In writing fiction, the more fantastic
the tale, the plainer the prose should be. Don't ask your readers to
admire your words when you want them to believe your story." -
Ben Bova [ more quotes ]
"THE USUAL SUSPECTS"
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
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
His legs are twisted at odd, almost impossible angles. He
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
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
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,
Keaton looks up at the man. A look of realization crosses
his face. It is followed by frustration, anger, and finally
How are you, Keaton?
I'd have to say my spine was broken,
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.
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.
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
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
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
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
SUDDENLY, AN EXPLOSION.
Then silence. TOTAL BLACKNESS.
We hear the voice of ROGER "VERBAL" KINT, whom we will soon
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.
INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIOR TO
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
POLICE. SEARCH WARRANT. DON'T MOVE.
It is a blur of violent action and sound. Beams of flashlights
cut the darkness in all directions.
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.
Police. We have a warrant for your
Will they be serving coffee downtown?
Two dozen black gloved hands grab him and yank him out of
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
Can I help you?
Hockney's voice is gruff.
Hockney reaches for something just inside the door of the
Who are you?
All six men INSTANTLY PRODUCE GUNS and aim them at Hockney.
Hockney withdraws a filthy towel and wipes grease and sweat
from his forehead.
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,
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.
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.
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.
I'm having a stroke.
You've come far. You're a good man.
I love you.
Keaton blinks then stammers, looking for a response. PAUSE
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.
Edie, nice to see you.
Sorry we're late.
Nonsense. Sit, please.
You must be Mr. Keaton.
I'm sorry. Dean Keaton.
Renault's hand is already out.
Monsieur Renault. A pleasure.
How do you do?
They shake hands. Keaton takes Fortier's hand next.
Monsieur Fortier. So nice to finally
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
Edie brought us your proposal and
I'll be honest. We're very impressed.
A bit skeptical, I must admit, but
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.
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.
This was the part of the proposal
that intrigued us, but I'm not sure
Let's say for example -
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
Dave. I'm in a meeting.
Time for another one.
This is my attorney, Edie Finneran.
This is Mr. Renault and Mr. Fortier.
Everyone, this is David Kujan.
Special Agent Kujan. U.S. Customs.
(Gestures to men behind
These gentlemen are with the New
York police department. You look
great, Keaton. Better than I would
Is there a problem, Mr. Keaton?
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.
If you will excuse us for a moment,
We need to ask you some questions
downtown. You'll be quite awhile.
Renault starts to get up.
We should leave you to discuss
whatever this is.
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.
Enjoy the meal.
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
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
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.
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
Between these lines are thinner blue lines to tell the
specific height in inches.
Bright lights shine on all of them. They squint, eyes
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.
Where you been, man?
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.
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-
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.
Give me the keys, you motherfucking,
cocksucking pile of shit, or I'll
rip off your
KNOCK IT OFF. Get back in line.
McManus steps back.
The rest of the men do their bit as Verbal speaks.
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
INT. INTERROGATION ROOM - NIGHT
McManus sits in a chair in front of a white wall. He smiles
at someone off-screen.
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.
Are you done?
Do you work for a broad? That would
have to be the worst.
Are you done?
Still, I guess dignity is a small
price to pay for medical and a
pension. A small pension, mind you,
but a pension nonetheless.
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
So where'd you dump the truck?
The truck with the guns, fucko.
You kill me, you really do. Where's
my phone call?
Right here. Suck it out.
You want to know what your buddy
Fenster told us?
Do I look stupid enough to fall for
that? Jesus Christ. Beat me if you
gotta, but no more of the candy-land
WHERE'S THE FUCKING TRUCK?
INT. INTERROGATION ROOM
Now Fenster is in the seat. He sweats profusely.
I want to call my lawyer. I don't
know about any truck. I was in
Connecticut all night on Friday.
That's not what McManus said.
McManus. He told us another story
Was it the one about the hooker with
dysentery I swear, she never mentioned
money until I came.
He told us about the truck.
To be honest, it was more like a
mobile home. She made a lot of money.
Who took the guns off your hands?
Hey, are we talking about the same
I'm losing my patience.
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.
You guys got nothing on me. Where's
your probable cause?
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.
HELLO? Can you hear me in the back?
He looks under his chair.
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.
- my lawyer. I'll have your badge,
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.
Hockney was just a bad bastard. Good
with explosives. Mean as a snake
when it mattered.
You think so, tough guy? I can put
you in Queens the day of the
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?
You know what happens if you do
another turn in the joint?
I'll fuck your father in the shower.
Charge me, dick-head.
INT. INTERROGATION ROOM
Now Keaton sits in the chair, cool and indifferent.
Keaton was the real prize for them,
for obvious reasons.
I'll charge you when I'm ready.
You know damn well, dead-man.
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,
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
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.
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,
These guys got no probable cause.
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.
You are a criminal.
Why you gotta go and do that? I'm
trying to make a point.
Then make it. Christ, you're making
me tired all over.
McManus looks at Keaton.
I heard you were dead, Keaton.
You heard right.
The word I got is you hung up your
spurs, man. What's that all about?
Rumor has it, Keaton's gone straight -
cleaning house. I hear he's tapping
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
Is it true?
What about it, Keaton? You a lawyer's
wife. What sort of "retainer" you
Keaton shoots McManus a fiery glare.
I'd say you've gotten on his main
and central nerve, McManus.
Do your friend a favor, Fenster,
keep him quiet.
You're clean, Keaton? Say it ain't
so. Was it you that hit that truck?
Forget him. It's not important. I
was trying to make a point.
This whole thing was a shakedown.
What makes you say that?
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.
So why the hell was I hauled in and
cavity searched tonight?
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.
I had a guy's fingers in my asshole
Is it Friday already?
Fuck you. I'll never shit right again.
So who did it? Own up.
I don't want to know.
Nobody asked you, workin'-man.
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.
How do I know that? How about it,
pretzelman? What's your story?
His name is Verbal Kint. I thought
you guys knew him.
Roger really. People say I talk too
Yeah, I was gonna tell you to shut
We've met once or twice. Last time
County. I was in for fraud.
You were waiting for a line-up then,
too. What happened with that?
I walked. Ninety days, suspended.
So you did it?
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.
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;
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 -
Why don't you just calm down'
What do you care what he says?
Yeah, I'm just talking here, and
Hockney seems to want to hear me
out. I know Fenster is with me -
How about you, guy?
McManus finishes pissing.
I'm interested, sure.
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.
I'm not kidding. Shut your mouth.
You're missing the point.
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 -
I beg your pardon but all of you can
go to hell.
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.
Forget him then.
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.
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...
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
A UNIFORM COP trots up to him.
Who are you?
Baer holds up his badge without looking at the man.
Agent Jack Baer, F.B.I. How many
Before the cop can answer, Baer turns and walks along the
line of body bags.
Fifteen so far. We're still pulling
some bodies out of the water.
Baer eyes the corpses on the dock, burned beyond recognition.
Looking for anyone in particular?
Baer looks at the cop for the first time, unamused.
I don't want any of the bodies taken
away until I've had a chance to go
over this, understood?
I have to clear the scene. I've got
word direct from the Chief.
Baer lights a cigarette, only half listening.
Yes, the chief. Spooky stuff. Any
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 walks away from the cop, ignoring him completely. He
wanders through the carnage on the pier.
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
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 -
No provisions, nothing. My clients
testimony for his immunity.
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
Counselor, I will prosecute your
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
One would think the counsel is veiling
Counsel isn't veiling anything.
I'll take my chances then. I'll feel
safer without a job if a man like
Mr. Kint is behind bars.
Mr. Kint will plead guilty to weapons
Weapons. Misdemeanor one.
Counselor, you're insulting me.
Counselor, you're bluffing. Shall I
push for misdemeanor two?
Voices mumble off screen. Verbal fidgets in his chair.
Misdemeanor one. Fine. This is
A tiny smile and a genuine look of disbelief flash across
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
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.
What do you mean I can't see him?
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
Did they charge him with anything?
Weapons. Misdemeanor two.
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.
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
When does he post bail?
Two hours, tops.
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'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.
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
This won't be an' interrogation,
just a... friendly chat to kill time.
He won't go into the interrogation
Someplace else, then.
Kujan looks around Rabin's messy office.
No, no, no, no, no.
If it was a dope deal, where's the
dope, if it was a hit, who called it
And I am sure you have a host of
wild theories to answer these
You know damn well what I think.
That's crazy, Dave and it doesn't
He has total immunity and his story checks out. He doesn't
know what you want to know.
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.
Two hours. Just until he makes bail.
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 walks with all of the determination of a battalion of
DOCTOR RIDGLY WALTERS, a young intern in his late twenties
rushes up to them.
Ridgly, this is Special Agent Jack
Baer from the F.B.I. Agent Baer,
this is Doctor Ridgly Waiters.
Nice to meet you.
Is he talking?
He regained consciousness less than
an hour ago. He spoke - not English -
then he lapsed.
It was Hungarian. Most of them were
Hungarians. Any fluent Hungarians on
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:
police. He'll find out I'm here and
he'll kill me. I need the police. I
will tell them anything they want to
know. Please, I am going to be
Will he die?
There's a chance.
Baer walks over to Rovash and kneels down on the bed beside
He looks closely at his battered and scalded face. He listens
to him far a moment. Kovash goes on incessantly.
you idiot, I'm going to be killed,
You'll all be killed if he has to do
it. Help me, God. They're all stupid.
Get someone who understands me or
we're all going to die.>>
Baer pulls a cellular phone out of his jacket and dials.
Call hospital security and put a man
on the door until the police get
you idiot? I'm not speaking English
am I? Wouldn't it make sense to find
someone who could talk to me so you
could find the person that set me on
fire, perhaps? He is the Devil. You've
never seen anyone like Keyser Soze
in all your miserable life you idiot.
Keyser Soze. Do you at least
understand that? Keyser Soze. The
Devil himself. Or are you American
policemen so stupid that you haven't
even heard of him. Keyser Soze, you
ridiculous man. KEYSER SOZE.>>
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.
Is he dangerous?
Someone picks up on the other end of the phone.
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.
Shut up, Hugo, I'm on the 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
Keyser - Soze.
He waves his hand, gesturing for Kovash to say it again.
Keyser - Soze.
Joel, call Dan Metzheiser over at
Justice and find Dave Kujan from
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.
Verbal, you know we're trying to
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.
Verbal, I know you know something. I
know you're not telling us everything.
I told the D.A. everything I know.
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.
I know you liked Keaton. I know you
think he was a good man.
I know he was good.
He was a corrupt cop, Verbal.
INT. RABIN'S OFFICE
Sure. Fifteen years ago, but he was
a good thief anyway. The cops wouldn't
let him go legit.
Keaton was a piece of shit.
You trying to get a rise out of me,
I just want to hear your story.
It's right here.
He taps a finger on the stack of paper that Kujan brought
Kujan picks it up and thumbs through it.
According to your statement you are
a short-con operator. Run of the
mill scams. Everything you do, you
learned from somebody else.
That's been suppressed. Anything in
there is inadmissible.
Oh, I know. Sweet deal you have.
Well I do have the weapons charge.
I'm looking at six whole months hard
You know a dealer named Ruby Deemer,
You know a religious guy named John
You know Ruby is in Attica?
He didn't have my lawyer.
I know Ruby. He's very big on respect.
Likes me very much.
Verbal sees this getting to something. His smiles fades.
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.?
There's nothing in there about Ruby.
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.
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?
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.
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.
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
Can we get started again?
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,
...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
Just forget about it.
He looks across the street and sees Fenster and McManus
talking by a newsstand. McManus is thumbing through magazines.
Keaton looks to his right and sees Hockney trying to hail a
I'll have this thing in front of a
grand jury by Monday.
Edie, please. I don't want to hear
this right now. What did Renault and
They want more time to think about
They just said they wanted time.
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.
Give me some credit. I got you this
far, let's go to the grand jury.
This is never going to stop if we -
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
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.
Don't give up on me now, Dean.
They'll never stop.
I love you.
They ruined me tonight.
Dean, I love you. Do you hear me?
Verbal gets to the sidewalk and stops. He turns, realizing
it is Keaton on the steps.
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
McManus notices Fenster and glances up from his magazine to
see what he is looking at.
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.
Come home, Dean.
Verbal looks at everyone else from where he stands on the
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.
What are you doing here! How did you
I just asked one of the detectives
downtown. He seemed pretty happy to
Keaton curses under his breath and motions for Verbal to
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
Dean, who was at the --
She stops when she sees Verbal. Verbal stands and smiles
How do you do?
Verb - Roger, this is Edie Finneran.
Edie, this is Roger Kint, he was at --
I know who he is.
I hope I didn't disturb you.
I hope so, too, Mr. Kint. Can I get
you something to drink?
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.
What the hell do you want?
I wanted to talk to you. The other
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
They're gonna do a job. Three million
dollars, maybe more.
Keaton is speechless. Verbal sits on the couch again.
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 drinks slowly. Edie stands over him, her face blank.
It is an awkward moment. She deliberately makes Verbal
Long pause - finally:
So what is it you do, Mr. Kint?
A hijacker like Dean, here? Or
something more creative?
That's enough, Edie.
I don't know what you came here for,
but we won't have any part of it.
Keaton takes Edie by the arm and tries to guide her toward
the other room. She pulls away, anger turning to rage.
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
Keaton is pulling her now. She yanks her arm away and shoves
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.
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.
Don't hurt me.
Hurt you, you sonofabitch? I could
Keaton starts to shove Verbal out the door.
They're going to hit the Taxi Service.
Keaton freezes. LONG PAUSE.
New York's Finest Taxi Service.
They - That's bullshit. They don't
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.
What fence? Who?
Some guy in California. His name is
Never heard of him.
Keaton moves to throw Verbal out. Verbal grabs Keaton and
You have to come.
What's with you? What do you care
whether I come or not?
They - They don't know me. You do.
They won't take me unless you go.
Look at me. I need this.
Don't tell me you don't need this.
Is this your place?
Keaton is unable to answer.
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.
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.
You watch your mouth.
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.
Verbal takes one and has a few drags, catching his breath
and rubbing his stomach in pain.
I was out of line.
I'll be alright.
Well, I'm sorry.
I'll probably shit blood tonight.
Keaton laughs. Verbal thinks about it for a moment and laughs
Keaton's laughter trails off. He thinks for a moment.
How are they going to do it?
McManus wants to go in shooting. I
said no way.
Fenster and Hockney?
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
Not if we do it my way.
(Lost in thought)
I swore I'd live above myself.
Verbal smiles, knowing he has him.
EXT. KENNEDY AIRPORT - DAY
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.
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.
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
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.
How was the flight?
Oscar hands Rizzi a thick envelope.
Will that get me to the Pierre?
Rizzi counts the stack of hundred dollar bills in the
That'll get you to Cape God.
The two men laugh. Strausz watches the road, expressionless.
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 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
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
He stands on the front of the roof and swings the hammer
INT. POLICE CAR
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.
GIVE ME THE SHIT.
Give it up.
Oscar hands the suitcase up front and Strausz passes it to
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
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
INT. POLICE CAR
McMANUS The money. Strausz looks at Rizzi.
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.
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.
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.
The papers got Keaton's call that
day and were on the scene before the
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
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.
There's more than I thought.
When does the fence come?
Redfoot? He never comes to see me. I
have to go see him.
Yeah. It'll take a few days. Me and
Hold the fuckin' phone. You and
Fenster? No, no, no.
Guys, come on.
I'm sure you can understand my
Then who goes?
We all go. How about it, Keaton?
All eyes turn to Keaton. He comes out of his trance.
We need to lay low for a while.
Fine with me.
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
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
We're going to miss the flight.
We'll make it.
Don't do this. Send her a card -
We'll make it.
Ms. Finneran will be with you in a
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
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
We're gonna miss the plane.
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.
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
INT. RABIN'S OFFICE -DAY - LOS ANGELES - PRESENT
Heartwarming. Really, I feel weepy.
You wanted to know what happened
after the line-up, I'm telling you.
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.
He loved her.
Sure. And I'm supposed to believe
that hitting the Taxi Service wasn't
his idea either.
That was all Fenster and McManus.
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.
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.
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.
You got him wrong.
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
Kujan pauses to drink some coffee.
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.
Rabin and Louis look at one another as they listen.
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
He was dead just long enough for a
murder rap to blow over, then he had
I don't know about that.
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.
He wasn't behind anything. It was
What lawyer, Verbal?
Verbal stammers for a moment, looking around wildly.
Back when I was in that barber shop
quartet in Skokie, Illinois I used
Kujan grabs Verbal's shirt and yanks him half out of his
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.
The D.A. gave me immunity.
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
Verbal looks at Kujan with utter contempt.
There was a lawyer. Kobayashi.
Is he the one that killed Keaton?
No. But I'm sure Keaton's dead.
Convince me. Tell me every last
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
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.
Are you the translator?
Patrolman Lionel Bodi, sir.
Agent Beer, this is getting out of
I'll see to it we're gone before he
blows his porch light, Doctor.
Baer gestures to Tracy.
This is Tracy Fitzgerald. She's a
composite sketch artist from county.
The young couple smile at one another nervously.
I've got a noon meeting, Baer.
Agent Baer, please.
Everyone calm down.
Ask this man about the shoot-out in
Kovash smiles with relief when he hears his own language.
that one, but at least I can talk to
F.B.I. He is here to help you. He
wants to know what happened in the
take him back to Hungary.>>
He says they were buying. It doesn't
make sense. I'm sorry, I'm a little
rusty. They were there to buy
Dope, we know.
God help me, they are all idiots.
We were there to buy a man, you simple
boy. A witness. I don't know his
name. A witness who knew the Devil.>>
Not dope. Something else. Some what?.
He doesn't know what they were buying.
But not dope... people.
even say it slow enough for you to
understand it. Just tell this man I
want protection. Real protection.>>
Your witness is whacked, Baer.
He says he'll tell us everything he
knows if we protect him.
Tell him fine.
from the ridiculous man. I am going
to be killed. I have seen the Devil
and looked him in the eye.>>
No good. He needs guarantees. He
says... his life is in danger... He
has seen the Devil... looked him in
I'll be on my way.
Baer grabs Metzheiser by the arm.
Tell him to tell this man what he
was telling me before. Who is the
Devil? Who did he see?
shooting everyone in sight.>>
Metzheiser is suddenly interested.
He says he saw him in the harbor. He
was shooting... Killing... Killing
Did he say Keyser Soze? He saw Keyser
seen his face. I see it when I close
He says he knows his face. He sees
it when he closes his eyes.
Ask him what this Devil looks like.
Tracy holds up her pad and pencil. She nods.
EXT. LOS ANGELES SKYLINE - DAY - FIVE WEEKS PRIOR
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
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.
How've you been?
Alright. How's it going, Fenster?
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.
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
He hands him the case.
McManus hands the case back to Hockney. Hockney opens it,
revealing the stacks of money inside.
You must be Keaton.
Jesus, I'm sorry. Redfoot, this is
Dean Keaton, that's Todd Hockney,
and that's Verbal Kint.
The man with the plan.
Are you guys interested in more work?
McManus moves to answer, but Keaton cuts him off.
We're on vacation.
I've got a ton of work and no good
What's the job?
Keaton shoots McManus a foul look. McManus pretends not to
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.
Two bodyguards. Pretty good.
Give us time to check it out?
I'd expect nothing less.
We'll call you.
Take your time. Enjoy L.A.
A friend of mine in New York tells
me you knew Spook Hollis.
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.
I shivved him.
Now McManus is shooting the angry look at Keaton.
Better you hear it from me now than
somebody else later.
Business or personal?
A little of both.
Ain't it a crime? Call if you're
Redfoot fires up his bike and takes off with the Caddy close
What's your fucking problem?
One job, that was the deal.
Take it as it comes, brother.
This is bullshit.
McManus laughs and walks away. Fenster and Hockney follow.
Verbal turns to Keaton.
What is it Keaton?
Something - I don't know.
I ever tell you about the restaurant
I wanted to open?
Keaton walks off. Verbal follows him in confusion.
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.
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
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
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
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.
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.
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
Saul gets in the car quickly but calmly as Fenster and Hockney
laugh and talk louder. They look drunk - The desired effect.
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.
...And the fat guy comes out of the
car with his pants on backwards and
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.
DON'T MOVE, YOU FUCKERS.
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
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.
Give me the case.
Saul reaches over for the case. Keaton trains the gun on
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.
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.
Both of McManus' guns go off like one shot. Tucci and Higham
collapse, each with a bullet in his head
The only sound is Saul grappling with Keaton for the gun.
His arm is halfway out the window. His elbow rests in the
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
All five of the men look at each other for an impossibly
long moment. The confusion is only aggravated by Saul's
SLOWLY, Keaton raises his pistol and aims it at Saul. His
hand trembles, his eyes squint to near slits. His finger
tenses and slacks off over and over again on the trigger.
VERBAL SHOOTS SAUL. Keaton looks at him in surprise. Verbal
trembles more than he does.
The garage is silent.
What the hell?
Bad day. Fuck it.
The elevator light comes on. All five men look.
Keaton reaches into the car and grabs Saul's case. Everyone
else piles into the van. Keaton gets in as Verbal is driving
for the exit.
The mood in the van is grim. Everyone is silent. Keaton pops
the clasps on the case and opens it.
Son of a bitch.
Everyone looks in the case. It is filled with cash on one
side. The other side is filled with clear plastic bags of
EXT. PARKING LOT - NIGHT
Keaton and the others stand in silhouette in front of the
lights of an oncoming car in the distance. We can make out
McManus loading a gun.
What are you doing?
What does it look like? I'm going to
We did it your way. Now I'll deal
You gonna kill him?
I'm going to deal with him.
The car, Redfoot's escort Caddy, is now in front of them.
The horn lets out three short blasts.
Redfoot comes around from behind the Caddy on his motorcycle.
He gets off the bike, trying to hide a faint smile. McManus
throws Saul's case on the ground in front of him.
What the fuck is this, Redfoot?
Get a grip. I didn't know.
You didn't know.
The job got thrown to me by this
Who is he?
Some Limey. He's a middle-man for
somebody. He doesn't say and I don't
We want to meet him.
He wants to meet you. He called last
night and asked me to set it up.
What do I tell him'
Tell him we'll meet.
If you're lying, Redfoot...
McManus, you're a real bad-ass, but
get off my tip.
McManus lunges for Redfoot.
The Caddy doors instantly pop open and rifle barrels come
into view from within.
Fenster and Hockney draw guns and aim at the Caddy. Keaton
and Verbal grab McManus and hold him back. Redfoot gets on
his Harley, smiling defiantly.
Real shame about Saul getting whacked.
Lot's of cops looking for the guys that did it. I'm sure
they'll get around to asking me.
He starts his bike.
Redfoot drives off. The Caddy waits until he is completely
out of sight before following.
INT. RABIN'S OFFICE - DAY - PRESENT
So this lawyer...
Came from Redfoot.
And why leave this out when you talked
to the D.A.?
Knock at the door.
Rabin sticks his head in.
Someone to see you, Agent Kujan.
Kujan steps out into the hall, shutting the door behind him.
INT. OUTSIDE RABIN'S OFFICE
Kujan smiles instantly, recognizing the man standing with
Jack. What are you doing here?
I've been looking all over for you.
You still after the coke that walked
out of that blood bath in the harbor?
You can stop looking. There was no
coke. I've been in L.A. county with
a guy they pulled out of a drainpipe
in San Pedro yesterday after the
shoot-out. He came to this morning
and started talking. He was part of
a Hungarian mob there to do a deal
with a bunch of goats from Argentina.
He says it was definitely not a dope
There was ninety-one million -
We know, but our man says no way on
the dope. This Hungarian tells me
the whole bunch was pulling stumps
for Turkey the next day. They had no
time to negotiate that kind of product
and no means to move it.
What was the money for?
He didn't know. No one doing the
deal knew except a few key people.
This guy says they were real hush
about it. Whatever it was it was
I don't get it.
They tell me you got the cripple
from New York in there. He mention
Bear with me here...
INT. RABIN'S OFFICE - LATER
BOOM - The door bursts open.
Who is Keyser Soze?
Verbal looks up in shock. He drops his cigarette and trembles
at the mere mention of the name.
INT. HOLLYWOOD ATHLETIC CLUB - DAY - TWO WEEKS PRIOR
Keaton stands while the rest sit and listen.
So I need to know if anyone can think
of anybody. Somebody with power.
Enough to possibly track us from New
Look. We've been over it for an hour
now. I say we pack up and run. Let's
go back to New York. At least get
out of L.A.
SUDDENLY, The sound of a man clearing his throat. Everyone
turns to the door behind them. MR. KOBAYASHI a tall, slim,
well groomed man stands in the hall. He has a briefcase in
his hand. He smiles politely.
Keaton stands back and lets him in. Kobayashi looks them
I am Mr. Kobayashi. I've been asked
by my employer to bring a proposal
to you gentlemen. That must be Mr.
Hockney. I recognize Mr. Fenster
from his mug shot, as well as Mr.
I can only assume that you are Mr.
Kint. I believe you were the one who
disposed of Saul. My employer sends
his gratitude. A most unexpected
Everyone looks at one another in shock that he would know
What can we do for you?
My employer requires your services.
One job. One day's work. Very
dangerous. I don't expect all of you
to live, but those who do will have
ninety-one million dollars to divide
any way they see fit.
Who's your boss?
My employer wishes to remain
Don't jerk me off. We all know what
this is. You don't work with me if I
work with you without knowing who
I'm working for. Now let's cut the
shit. Who's the man?
I work for Keyser Soze.
A strange look crosses Keaton's face. Skepticism, mockery
and just a hint of fear. Hockney, McManus and Fenster all
share similar looks.
What is this?
Who's Keyser Soze?
I am sure you've heard a number of
tall tales, myths and legends about
Mr. Soze. I can assure you gentlemen,
most of them are true.
Who's Keyser Soze?
Judging by the sudden change in mood,
I am sure the rest of your associates
can tell you, Mr. Kint. I have come
with an offer directly from Mr. Soze.
An order actually.
In nineteen-eighty one, Mr. Keaton,
you participated in the hijacking of
a truck in Buffalo, New York. The
cargo was raw steel. Steel that
belonged to Mr. Soze and was destined
for Pakistan to be used in a Nuclear
reactor. A very profitable violation
of U.N. Regulations. You had no way
of knowing this, because the man
shipping the steel was working for
Mr. Soze without his knowledge.
Mr. Fenster and Mr. McManus hijacked
a twin-prop cargo flight earlier
this year out of Newark airport. The
plane was carrying platinum and gold
wiring. Also set for Pakistan.
Kobayashi turns and points at Hockney.
Two months ago, Mr. Hockney stole a
truck carrying gun parts through
Everyone looks at Hockney. He smiles shyly. It occurs to
them all that he robbed the truck for which they were all
arrested in the first place.
guns allegedly set to be destroyed
by the state of New York. They were
to be "lost" in a weigh station and
routed to Belfast. Again, Mr. Soze
using pawns who had no knowledge.
(turning to Verbal)
Which brings us to Mr. Kint.
Verbal crumbles under his stare.
Nine months ago, one of Mr. Soze
less than intelligent couriers was
taken in a complicated confidence
seam by a cripple. He was relieved
of sixty-two thousand dollars. Now...
(to all of them)
It has taken us some time to find
you. Our intention was to approach
you after your apprehension in New
You set up the line-up.
Mr. Soze made a few calls, yes. You
were not to be released until I came
to see you. It seems Mr. Keaton's
attorney, Ms. Finneran, was a bit
too effective in expediting his
release. Holding the rest of you
became a moot point.
What about Redfoot?
Mr. Redfoot knew nothing. Mr. Soze
rarely works with the same people
for very long, and they never know
who they're working for. One cannot
be betrayed if one has no people.
So why tell us?
Because you have stolen from Mr.
Soze. That you did not know you stole
from him is the only reason you are
still alive, but he feels you owe
him. You will repay your debt.
Who is this guy? How do we know you
work for Soze?
I don't think that is relevant, Mr.
Hockney. The five of you are
responsible for the murder of Saul
Berg and his bodyguards. Mr. Redfoot
can attest to your involvement, and
we can see to it that he will. He is
not of your "superior" breed.
This is a load of shit.
The offer is this, gentlemen. Mr.
Soze's primary interest, as I am
sure you all know, is narcotics.
He's been - competing shall we say,
with a group of Argentinians for
several years. Competing with Mr.
Soze has taken its toll. These
Argentinians are negotiating the
sale of ninety-one million dollars
in cocaine in three days time.
Needless to say, this purchase will
revitalize the diminishing strength
of their organization. Mr. Soze wants
you to stop the deal. If you choose,
you may wait until the buy. Whatever
money changes hands is yours. The
transaction will take place on a
boat in San Pedro. Mr. Soze wants
you to get to the boat and destroy
the cocaine on board. Then you are
free of your obligation to Mr. Soze.
Give me one good reason why I
shouldn't kill you right now.
Kobayashi smiles and puts his briefcase on the table in front
A gift from Mr. Soze gentlemen.
He turns and walks out of the room.
Keaton walks over to the case and opens it. He reaches in
and pulls out five thick manila envelopes, each marked in
bold black letters. "KEATON", "McMANUS", "HOCKNEY", "FENSTER"
Keaton pulls out the files, revealing a map underneath.
Keaton hands each man his file. He opens his first. He pulls
out a thick stack of papers and thumbs through them.
Jesus Christ. Open them.
All of the men open their files. Inside are mug shots of
each man in his respective file as well as a printout of his
criminal record. But there is more.
They know everything.
This is my life in here. Everything
I've done since I was eighteen.
Everybody I ever worked with, did
They fucking know everything.
Keaton pulls out a large black and white photograph of himself
and his lawyer EDIE FINNERAN. They are laughing arm in arm
by a fountain in New York. He hides the photo from the others.
This is not right.
I don't know. Who was that guy that
used to talk about Soze in New York?
Yeah. He said he did jobs for him.
Indirect stuff. Always five times
more money than the job was worth.
Come on. The guy is a pipe dream.
This Kobayashi is using him for window
I don't know. This is bad.
It's bullshit. This guy could be
L.A.P.D. I think it's a setup.
The way I hear it, Soze is some kind
of butcher. No pity.
There is no Keyser Soze.
Verbal thumbs through his file. A long list of names, numbers,
addresses. It is a detailed portfolio of his entire criminal
and personal life. He looks up at Keaton.
Who is Keyser Soze?
INT. RABIN'S OFFICE - DAY - PRESENT
Kujan leans into Verbal's face. He hangs on his every word.
He is supposed to be Turkish. Some
say his father was German. Nobody
believed he was real. Nobody ever
saw him or knew anybody that ever
worked directly for him, but to hear
Kobayashi tell it, anybody could
have worked for Soze. You never knew.
That was his power. The greatest
trick the Devil ever pulled was
convincing the world he didn't exist.
One story the guys told me - the
story I believe - was from his days
in Turkey. There was a petty gang of
Hungarians that wanted their own
mob. They realized that to be in
power you didn't need guns or money
or even numbers. You just needed the
will to do what the other guy
wouldn't. After a while they come to
power, and then they come after Soze
He was small time then, just running
dope, they say...
INT. SOZE'S HOME - DAY
Three of the Hungarians come bursting into Keyser Soze's
home. They grab his five children and round them up in the
front room. One of the men grabs his wife and back-hands her
across the face.
They come to his home in the afternoon
looking for his business. They find
his wife and kids in the house and
decide to wait for Soze.
INT. SOZE'S HOME - LATER
The front door opens and in walks Keyser Soze. We are never
allowed to see his face.
Soze's wife lies in the corner, beaten and bruised. Her dress
is tattered to shreds. She cannot look up at her husband.
The three Hungarians stand to greet him. Two hold guns in
their hands. The third holds a straight razor. He grabs Soze
youngest boy and holds the razor to his throat.
He comes home to his wife raped and
his children screaming. The Hungarians
knew Soze was tough. Not to be trifled
with. So they let him know they meant
The Hungarian smiles. Soze's wife SCREAMS IN HORROR. The
Hungarian holds up a BLOOD SOAKED RAZOR. SUDDENLY, he grabs
another child. A little girl no older than six.
They tell Soze they want his territory -
all his business. Soze looks over
the faces of his family... Then he
showed these men of will what will
SUDDENLY, Soze pulls out a pistol and shoots the two men
with guns. He turns and aims at the third man holding his
The man threatens to cut the child's throat, slicing just
enough to draw blood.
The stunned Hungarian watches the child fall from his arms.
Soze turns the pistol on the next child, then the next and
the next. He kills his children one by one in front of the
He tells him he would rather' see
his family dead than live another
day after this.
SOZE walks over to his wife, crying and beaten on the floor
and holds up her head. She gives him the strangest look. One
of trust perhaps, saturated with fear and humiliation.
He puts the gun between her eyes and fires.
He lets the last Hungarian go, and
he goes running. He waits until his
wife and kids are in the ground and
he goes after the rest of the mob.
He kills their kids, he kills their
wives, he kills their parents and
their parents' friends.
A dark and looming figure of a man walks in front of a wall
of fire - a black shadow blurred by waves of heat.
He burns down the houses they live
in and the stores they work in, he
kills people that owe them money.
And like that he was gone.
Underground. No one has ever seen
him again. He becomes a myth, a spook
story that criminals tell their kids
at night. If you rat on your pop,
Keyser Soze will get you. And nobody
really ever believes.
INT. RABIN'S OFFICE - DAY
Do you believe in him, Verbal?
Keaton always said: "I don't believe
in God, but I'm afraid of him." Well
I believe in God, and the only thing
that scares me is Keyser Soze.
Jack Baer and Rabin listen to Verbal on the speaker with one
You give this any weight, Agent Baer?
I can introduce you to Dan Metzheiser
from Justice. He has a file on Soze
in D.C. It's been a hobby of his for
a few years. A lot of guys equate
him to that reporter on the Incredible
Had you heard of him before?
On the street? A few times. Outside
stuff. Somebody was working for a
guy who was working for a guy who
got money through Keyser Soze. That
kind of shit. Could be an old badge.
A hex sign to keep people from fucking
with you back when a name meant
But you're here.
Shit yeah. I got a guy trying to
walk out of the hospital on a fried
drumstick to get away from SOZE.
I'll run it up the flagpole.
INT. RABIN'S OFFICE
I came clean. I told it like it
happened on the boat. So what if I
left out how I got there? It's got
so many holes in it, the D.A. would've
told me to blow amnesty out my ass.
So you got what you wanted out of
me. Big fucking deal.
And this is why you never told the
You tell me, Agent Kujan. If I told
you the Loch Ness Monster hired me
to hit the harbor, what would you
Turn state's evidence. Take the stand
on this and we'll hear it out.
I've got immunity now. What can you
possibly offer me?
If there is a Keyser Soze he'll be
looking for you.
Where's your head, Agent Kujan? Where
do you think the pressure's coming
from? Keyser Soze - or whatever you
want to call him - knows where I am
right now. He's got the front burner
under your ass to let me go so he
can scoop me up ten minutes later.
Immunity was just to deal with you
assholes. I got a whole new problem
when I post bail.
So why play into his hands? We can
Gee, thanks, Dave. Bang-up job so
far. Extortion, coercion. You'll
pardon me if I ask you to kiss my
pucker. The same fuckers that rounded
us up and sank us into this mess are
telling me They'll bail me out? Fuck
you. You think you can catch Keyser
Soze? You think a guy like that comes
this close to getting fingered and
sticks his head out? If he comes up
for anything, it will be to get rid
After that, my guess is you'll never
hear from him again.
INT. HALLWAY OUTSIDE HOSPITAL ROOM - DAY
Doctor Plumber watches from out in the hall.
Kovash spits out a constant river of Hungarian while Bodi
tries to keep up, relaying everything to Tracy Fitzgerald.
She sketches frantically while Daniel Metzheiser looks on.
The composite sketch of Keyser SOZE is taking form.
(<<..>> Denotes liners spoken in Hungarian.)
The nose is sharper. Smaller too.
(to Arkosh in Hung.)
something earlier about it.>>
He says the hair is longer and
EXT. BEACH - DAY
Waves pound across a stone jetty. A MAN sits fishing while
his young son, BRANDO strolls toward the open sea.
He pokes at rocks and seaweed with a fishing pole. He glances
down at Something wedged between the rocks beneath his feet.
He pokes at it. He notes the checkered pattern of the fabric
entwined with the twisted mess. It is the bloated carcass of
THE MAN IN THE CHECKERED BATHROBE. BRANDO pokes it's eye
with the fishing pole. It pops.
INT. RABIN'S OFFICE
That was how I ended up in a barber
shop quartet in Skokie, Illinois.
This is totally irrelevant.
Oh, but it's not. If I hadn't been
nailed in Illinois for running a
three card monte in between sets, I
never would have took off for New
York. I never would have met Keaton,
see. That barber shop quartet was
the reason for everything.
Can we just get back to Kobayashi?
The quartet is part of the bit about
Kobayashi. The quartet was in my
file, along with every other thing I
had done since high school, see?
Aliases, middlemen. They knew me
better than I did. They knew all of
Kujan looks at his watch.
You're stalling, Verbal.
Give a guy a break, huh?
Verbal slumps a bit. He realizes his stalling tactic has
We woke up the next morning and
Fenster was gone. He couldn't handle
the idea of slumming for SOZE. He
left a note wishing us good luck and
took a chunk of the money we'd scraped
McManus was furious. He was talking
about tracking him down and ripping
his heart out and all sorts of shit.
That night we got the call.
Kobayashi told us where we could
EXT. BEACH - NIGHT - TWO WEEKS PRIOR
Keaton looks out over the ocean and smokes a cigarette.
What do you want to do with him?
McManus kneels in the sand. Hockney and Verbal stand behind
him, staring at something in front of them.
It is the body of Fred Fenster, literally peppered with bullet
holes. McManus stares at him, fighting any flicker of emotion.
I worked five years with Fenster.
More jobs, more money than I can
I'm sorry, McManus.
I want to bury him.
McManus springs to his feet and points a pistol at Keaton.
Keaton turns to face him and raises his head. McManus might
as well be pointing a feather-duster.
YOU WILL FIND TIME. You're not the
only one with debts, man.
WITH OUR HANDS.
Everyone digs in the sand on the deserted beach with their
hands. They are up to their waists in the hole they have
scooped out. Fenster's body is a few feet away.
This is nuts.
This is fucking dry sand, man. When
he rots, the surfers'll smell him
from a hundred yards out.
DIG, YOU FUCKER.
Hockney can see that McManus has truly gone over the edge
for now. Keaton gives him a look that says don't argue.
Keaton, we gotta go. They're gonna
What are we gonna do?
I can run. I got no problem with
They don't seem to have a problem
with it either.
This ain't my boy we're burying. I
don't owe anybody.
We got a deal here.
IT'S NOT PAYBACK. I don't answer to
you. It's precaution. You want
payback? You want to run? I don't
care. I'm going to finish this thing.
Not for Fenster, not for anybody
else, but for me. This Kobayashi
cocksucker isn't going to stand over
All of you can go to hell.
Keaton turns and digs furiously with both hands. Hockney
takes a moment and slowly starts to do the same.
The four men dig for Fenster. The first to find some rest.
INT. RABIN'S OFFICE - DAY - PRESENT
Verbal smokes with his good hand shaking badly.
And after they killed Fenster nobody
I wanted to. I thought we could make
Why didn't you say anything?
I tried, believe me, but Keaton
wouldn't have it. It was too far-
fetched for him. Keaton was a grounded
guy. An ex-cop. To a cop, the
explanation is never that complicated.
It's always simple. There's no mystery
on the street, no arch-criminal behind
it all. If you got a dead guy and
you think his brother did it, you're
going to find out you're right. Nobody
argued with Keaton. They just set
their minds on whacking Kobayashi.
EXT. PARKING LOT - NIGHT - TWO WEEKS PRIOR
Redfoot's Harley rests on the roof of the Caddy in a mangled
heap. The body of the Caddy is riddled with bullet holes.
Redfoot's dead body has been shoved head-first through a
hole in the windshield up to his waist, recognizable only by
the trademark red boot.
INT. OFFICE BUILDING - DAY
Kobayashi walks through the front door of a plush office
tower followed by two bodyguards. He heads toward the
elevator, failing to notice Hockney a few feet away, reading
We see a wire running from Hockney's ear to his collar.
He's coming up.
INT. HALLWAY - FORTIETH FLOOR
Keaton, McManus and Verbal stand by the six elevators on the
fortieth floor. They are all wearing khaki overalls and tool
belts with walkie-talkies. They look like servicemen.
All of the elevators have been propped open and stranded.
McManus moves into one of the elevators. As the doors close
behind him, he scrambles for the ceiling hatch.
Keaton and Verbal listen for anything on the radio.
The elevator opens. Kobayashi and his bodyguards get on the
The elevator is empty except for the three men. McManus has
vanished. Kobayashi presses a button and they are on the
SUDDENLY, the ceiling hatch opens and McManus' arm comes
POP - POP. Two shots from a suppressed pistol and the guards
drop to the floor, DEAD.
Kobayashi looks up with surprising calm into McManus' barrel.
INT. HALLWAY - FORTIETH FLOOR
The elevator opens and Kobayashi is greeted by Keaton and
Verbal. McManus drops from the ceiling hatch and pushes him
Verbal and McManus grab the dead bodies and drag them out of
the elevator. They drag them to the next elevator which has
been forced open, revealing an empty shaft.
The answer is no.
Mr. Soze will be most -
Listen to me, cocksucker. There is
no Keyser Soze. If you say his name
again, I'll kill you right here.
A strange threat. I can only assume
you're here to kill me anyway. Pity
about Mr. Redfoot.
Fair trade for Fenster.
The elevator opens and Hockney steps out.
Ahh, Mr. Hockney. Do join us.
We know you can get to us, and now
you know we can get to you. I'm
offering you the chance to call this
Mr. So- My employer has made up his
mind. He does not change it.
Neither do we.
You got Fenster, you may get more,
but you won't get us all. Not before
one of us gets to you.
I believe you, Mr. McManus. I quite
sincerely do. You would not have
been chosen if you were not so
capable, but I cannot make this
decision. Whatever you can threaten
me with is... ludicrous in comparison
to what will be done to me if...
Just so you know. I'm the guy. I'm
the one that's gonna get through to
I am sorry, Mr. McManus.
I implore you to believe me, Mr.
Keaton. Mr. Soze is very real and
McManus holds a pistol to Kobayashi's chin. The lawyer's
cool eyes never falter.
Before you do me in, you will let me
finish my business with Ms. Finneran
first, won't you?
SUDDENLY, Keaton grabs McManus' hand and pulls the gun away
before he can shoot.
What did you say?
Edie Finneran. She is upstairs in my
office for an extradition deposition.
I requested she be put on the case
personally. She flew out yesterday.
Everyone looks at Keaton.
No matter. Kill away, Mr. McManus.
INT. HALLWAY - FIFTIETH FLOOR
Everyone follows Kobayashi quietly down a dimly lit, oaklined
hallway. Verbal holds a small pistol discreetly in the small
of Kobayashi's back.
They come to a glass office foyer. Kobayashi gestures and
everyone looks through the glass into the lobby beyond.
EDIE FINNERAN is talking casually with the receptionist.
Edie glances toward the men in the hall. Keaton turns quickly
on his heels, facing the others. From where Edie stands, it
looks as though Kobayashi is talking to a group of harmless
They see A LARGE MAN dressed very much like the two dead
bodies left in the hall downstairs. The man notices Kobayashi
and the others. He stands and stares menacingly.
Ms. Finneran's escort in Los Angeles.
Never leaves her for a moment. I
thought you'd like to know she was
in good hands.
Keaton's mind races for an alternative. He can find none.
Verbal lowers his gun without being told.
Get your rest, Gentlemen. The boat
will be ready for you on Friday. If
I see you or your friends before
then, or fail to check in every half
hour with that unpleasant looking
man in there, Ms. Finneran will find
herself the victim of a gruesome
violation before she dies. As will
your father, Mr. Hockney and your
Uncle Randall in Arizona, Mr. Kint.
I might only castrate Mr. McManus'
nephew, David. Do I make myself clear?
All of the men surround Kobayashi, aching to kill him.
I'll take care of the dead men
downstairs. We'll add them to the
cost of Mr. Fenster. Now if you'll
Kobayashi walks into the office. Edie turns to greet him.
Keaton slowly turns and watches as they shake hands and talk.
Kobayashi says something they cannot hear and Edie laughs,
her back to the window.
Kobayashi smiles over her shoulder at Keaton. All the while,
the bodyguard watches Keaton. He nods politely before Keaton
and the others leave. Verbal watches for a moment more and
EXT. HILLSIDE ROAD - DAY
Keaton, Verbal, Hockney and McManus sit in a rented sedan
overlooking San Pedro harbor.
Another file from Kobayashi's briefcase is laid out on the
dashboard. This has a map and a good fifty pages of
information in it.
It's a logistical nightmare. Close
quarters, no advance layout, ten
men, maybe twenty.
Can we stealth these guys?
Doubtful. With all that coke, they'll
be ready - which brings me to sunny
spot number two. Even if one of us
gets through and jacks the boat, we
And if we wait for the money?
Ten more men at least. In my opinion,
it can't be done. Anyone who walks
into this won't come out alive.
I'm for waiting for the money.
Did you hear what he just said?
If I'm going in, I want a stake.
So do I.
Verbal is shocked by what he is hearing. He looks at Keaton
as if to ask him for his decision.
Keaton's cold stare is all the answer Verbal needs. He slumps
in his seat, resigned to the others.
I just can't believe we're just gonna
walk into certain death.
They all suddenly realize the weight of their situation.
News said it's raining in New York.
No one knows quite how to respond.
EXT. PIER - SAN PEDRO - NIGHT
A large boat, sleek and yacht-like, but without finesse.
This is a boat for business - heavy and fast. It is moored
to the pier.
A large crane hoists a pallet of fuel drums from the dock.
It swings slowly over the boat. A man on the dock yells in
Spanish to the crane operator.
Behind an old and weathered boat in dry-dock, Keaton and
Verbal watch the boat from the shadows.
What are they speaking?
Russian, I think. I don't know.
Knock it off.
DOLLY OVER TO REVEAL:
McManus climbing up the side of the boathouse.
CONTINUE PAST HIM TO REVEAL:
A large boat. A very large boat.
Hockney maneuvers through a mesh of twisted steel, arriving
at a vantage point near the stern of the large boat.
A black van pulls up and parks near the crane. Four men in
suits get out. One remains with the van and the other three
walk toward the boat.
On the boat, five men come up from below deck. They are tense
and cautious around the men in suits. Someone speaks in
Spanish and someone else in Russian. It takes a moment before
anyone speaks the same tongue. They settle on French for
Hockney sits in the van. He handles a large shoulder bag
stuffed with plastique. He tests a timer on top. He picks up
Are we ready, kids?
EXT. BOATHOUSE - ROOF
McManus is positioning himself on the roof of the boathouse.
He stops and grabs his radio.
If I didn't have to stop and answer
you, I would be.
Everyone shut up. I'm ready. McManus,
you better be set up in ten seconds.
I want you to stay here. Understand?
But I'm supposed to -
If we don't make it out, I want you
to take the money and go.
Keaton, I can't just -
I want you to find Edie. Both of you
find some place safe. Tell her what
happened - Everything. She knows
people. She'll know what to do. If
we can't get Kobayashi my way, she'll
get him her way.
What if I -
Just do what I tell you.
Keaton turns and takes a few steps. He stops and looks back,
his face marked with guilt and agony.
Tell her I... Tell her I tried.
Keaton leaves before Verbal can respond. He walks down a
ramp toward the boat.
He is no more than a few yards out of the shadows before the
first man sees him.
One of the men in suits starts to yell to the others. Men
pull out guns and try to look as cool as they can.
Keaton walks right into the face of all of these men,
undaunted. His hands are in his pockets.
Above him, in the darkness, McManus pokes his head out and
spies Keaton. He pulls his head back and sticks out the barrel
of the rifle.
Keaton comes to a stop about twenty feet from fifteen men
EXT. BOATHOUSE - ROOF
McManus stares through the scope of his rifle at the scene.
The cross-hairs breeze past Keaton and find a target. A man
in a suit.
He moves to another and then another, picking up speed and
mock-shooting the men. He is steady and quick. It is clear
he could take all fifteen in a few seconds.
Pow-pow-pow-pow-pow-pow. Oswald was
The men shout questions at Keaton in a number of languages.
A few men standing on the dock near the stern of the large
boat, move towards the commotion.
Hockney bails out and runs quickly and quietly through the
shadows, bringing the bomb with him.
Verbal remains in the darkness, looking frightened.
EXT. BOATHOUSE - ROOF
McManus still wanders with his scope.
Old McDonald had a farm, ee-aye, ee-
aye, oh. And on this farm he shot
some guys. Ba-da-bip, ba-da-bing,
Finally two men walk right towards Keaton. The rest train
guns on him. They reach for his arms, pointing their guns
right at him.
At the far end of the dock, Hockney throws his bomb onto the
stern of the large boat.
The men surrounding Keaton, are distracted. Keaton pulls a
pistol out of each pocket and shoots the two men closest to
EXT. BOATHOUSE - ROOF
ELVIS HAS LEFT THE BUILDING.
He fires as fast as he can.
The men from the boat and the men in suits try to peg Keaton,
but McManus' sniping has them running.
The crane operator opens the door to bails out, leaving the
crane in motion.
EXT. BOATHOUSE - ROOF
McManus runs across the roof of the boathouse and jumps down
to the pier. He arrives at a thick mooring cable and climbs
across to the boat.
MEANWHILE ON THE DOCK:
Keaton climbs up onto a small lifeboat hanging from the side
of the larger boat. From this he climbs aboard the large
Hockney is firing in all directions. SUDDENLY, he realizes
no one is left on the dock.
FINALLY, he turns and runs back for the van parked on the
pier above. He finds a ramp leading from the dock to the
At the van, he finds the one man who has stayed behind to
The man hears Hockney coming and raises his gun. Hockney
runs straight at him, screaming frantically.
GET THE FUCK OUT OF HERE. EVERYONE
He shoots the man point blank in the face and runs over his
body as it falls.
He gets to the back door of the van and yanks it open.
The inside is stacked with large wooden crates.
Hockney, suddenly oblivious to the sound of gunfire, opens
one of the crates and looks inside.
IT IS FILLED WITH MONEY. Cash and negotiable bonds of all
kinds. He smiles.
BLOOD sprays all over the money. Hockney looks at it, puzzled.
Hockney raises a blood-soaked hand from his belly. He turns
and stares in horror.
Another shot takes off the top of his head.
McManus runs like a wild man across the deck, heading for
He shoots in all directions as though he has eyes in the
back of his head. He sees Keaton climbing onto the deck of
Verbal is wrestling with what to do. He finally makes a break
for the other side of the boathouse.
EXT. BOAT DECK
The crane continues to swing. A single bullet hits one of
the barrels on the suspended pellet. Gasoline pours out
through the bullet-hole.
Keaton finds the hatch and goes below, shooting a man on his
way up the stairs. McManus jumps on board and runs down behind
Verbal arrives at the top of the ramp leading from the dock
to the pier.
He ducks down behind a guardrail beside the ramp. He turns
and sees Hockney's dead body next to the van. He looks around
frantically, frozen in terror. It is quiet, except for the
sounds of screaming, far off in the bowels of the boat and
the hum of the crane.
INT. RABIN'S OFFICE - DAY - PRESENT
Why didn't you run?
I froze up. I thought about Fenster
and how he looked when we buried
him, then I thought about Keaton. It
looked like he might pull it off.
A KNOCK ON THE DOOR.
Rabin steps in and motions for Kujan to come outside.
Rabin and Jack Baer are in the hall. Rabin hands Kujan a
thick manila folder. Kujan thumbs through it.
A boy came across a body on the beach
this morning. Thrown clear when the
boat burned. Shot once in the head.
Two guys from the F.B.I. just
His name was Arturo Marquez. A petty
smuggler out of Argentina. He was
arrested in New York last year for
trafficking. He escaped to California
and got picked up in Long Beach.
They were setting up his extradition
when he escaped again. Get this -
Edie Finneran was called in to advise
I called New York County and they
faxed me a copy of Marquez's
testimony. He was a rat.
Kujan pulls out page after page from the file.
A big fucking rat.
Arturo was strongly opposed to going
back to prison. So much so that he
informed on close to fifty guys.
Guess who he names for a finale?
Kujan finds one sheet and notices a paragraph is highlighted.
INT. RABIN'S OFFICE - MOMENTS LATER
Kujan walks in and sits down in front of Verbal. He smiles.
I'll tell you what I know. Stop me
when it sounds familiar.
Verbal is confused.
There was no dope on that boat.
INT. BOAT - NIGHT - ONE WEEK PRIOR
Keaton is weaving through tight, low-ceiling corridors,
looking in every cabin, working his way towards the bottom
of the boat.
ELSEWHERE IN THE BOAT, McManus is tearing though the
corridors, seemingly less interested in securing the cargo
as he is in killing everyone on board.
He screams like a lunatic, shooting everything in his path,
killing some men with his bare hands, shooting others,
stabbing others still with a knife he has brought along.
JAIME, one of the men from the boat, is half-pushing, half-
helping a thin and sweaty looking MAN IN A CHECKERED BATHROBE
towards a cabin at the end of the hall.
The man in the robe is trembling. He seems stricken with
MAN IN ROBE
He's here. I saw him on deck.
Jaime pushes him inside the cabin and shuts the door.
A stereo playing softly in the room mixes with the man's
The man in the robe screams through the closed door, his
voice echoing off of the metal bulkheads.
MAN IN ROBE
I'M TELLING YOU IT'S KEYSER SOZE.
Jaime stands outside the door of the cabin and turns to face
down the hall. Off in some other part of the boat, he can
hear McManus wailing like a banshee and the ever-less frequent
sound of gunshots.
Keaton has come to the four-foot-high door to the hold. The
door is open slightly. Keaton finds this strange. He pushes
the door open and steps inside. The hold is empty.
He hears a noise behind him. He wheels around to fire. He
sees McManus in the door. His face is covered with blood.
Did you hear what I heard?
What happened to you?
Keyser Soze is on the boat.
I heard somebody screaming his nuts
off. He said Keyser Soze was on the
Are you alright?
McManus rubs some of the blood off with his sleeve.
Huh? Oh, It's not mine.
There's no coke.
McManus looks around the hold as though he'll see four and a
half tons of dope in some corner where Keaton might have
The two men look at one another. There is a long, pregnant
Let's get the fuck out of here.
Right behind you.
Keaton and McManus step out of the hold, walking slowly and
cautiously back from where they came. They hear the sounds
of footsteps running on the deck above and the occasional
hollered sentence in Spanish.
I don't think he made it to the boat.
They come to a corner. They can go left or right.
I can't remember which way.
BOOM - BOOM
Gunshots fill the hallway from behind them. They do not stop
to turn around. Keaton goes left, McManus goes right. They
run in opposite directions with the sound of gunfire right
INT. HALLWAY - CABIN
Jaime squints and cocks his head.
SOMEONE IS COMING. He raises a pistol and crouches by the
The man in the bathrobe sits on the foot of the bed watching
the door. He hears the sounds of fighting somewhere not too
He crawls over the bed and squeezes between it and the
bulkhead. Only the top of his head is visible. He starts to
BOOM - BOOM - Two shots just outside in the hall.
SUDDENLY, the door bursts open. Jaime collapses in a heap on
the floor, a bullet hole in his eye.
FIGURE LOOMS IN THE DOOR.
The man in the bathrobe looks up at the figure. We cannot
MAN IN ROBE
I told them nothing.
The man in the robe falls dead.
EXT. DECK - MOMENTS LATER
The boat is quiet now. Keaton walks out onto the deck. He
looks out over the pier and sees Verbal standing in the middle
of the carnage, frozen. Their eyes meet. Keaton waves at him
as if to shoe him away.
EXT. PIER - TOP OF RAMP
Verbal hesitates and finally moves towards the van with the
money. He looks back over his shoulder and sees Keaton.
Keaton sees him looking and waves again, hurrying him along.
Verbal turns away and focuses on the van.
Keaton hears a noise behind him. He swings around and points
his gun at McManus again. He puts the gun down.
McManus smiles. He walks slowly across the deck towards
Keaton. Something is not right about him.
He slumps to the deck. Keaton rushes over to him. He kneels
down and sees a pipe sticking out of the back of McManus's
Verbal approaches the van, stepping over Hockney's body. He
closes the back doors of the van.
He looks to his left at the huge loading crane. He glances
upward along the giant arm as it swings steadily on.
Somewhere, off in the distance, the sound of SIRENS can be
Keaton kneels by McManus, trembling with rage. After a moment
he stands, looking down at McManus' dead body.
SUDDENLY, Verbal realizes something. He turns and goes to
call out a warning to Keaton. He is too late.
Keaton never sees the crane coming.
The pellet of barrels hits him square in the back and sends
him flying into the wheel house of the boat.
Keaton is still for a moment. Finally, he tries to get up,
but finds he cannot move his legs.
Verbal runs down the ramp as fast as he can. He comes to a
rope ladder hanging down the side of the boat.
SUDDENLY, he stops dead in his tracks, looking up at the
From where he stands, he can just make out the figure of a
TALL, THIN MAN walking along the edge of the deck. He moves
quietly and calmly in the shadows towards the crane, looking
out of place in his expensive suit.
Something about this man terrifies him.
INT. RABIN'S OFFICE - DAY - PRESENT
And that's when you say in your
statement that you saw...
Kujan picks up his copy of Verbal's statement to the D.A.
A man in a suit with a slim build.
Wait a minute.
(looking at watch)
I don't have a minute. Are you saying
it was Keyser Soze? You told the
D.A. you didn't know who it was.
Verbal is drowning in Kujan's interrogation. He looks dazed.
I - there had to be dope there.
Don't shine me, Verbal. No more
stalling. You know what I'm getting
YES YOU DO. YOU KNOW WHAT I'M GETTING
AT. THE TRUTH. TRY TO TELL ME YOU
DIDN'T KNOW. TRY TO TELL ME YOU SAW
SOMEONE KILL KEATON.
For the first time, Verbal stands and tries to move away
from Kujan, but Kujan stays in his face, backing him into a
corner. Verbal shields himself with his hands and shuts his
TRY TO KEEP LYING TO ME NOW. I KNOW
I don't know what you're talking
YOU KNOW. YOU'VE KNOWN THIS WHOLE
FUCKING TIME. GIVE IT TO ME.
Verbal looks into Kujan's eyes with genuine terror. Kujan's
face is red, his body trembles. His locomotive breathing is
the only sound in the room.
I don't understand what you're saying.
I saw Keaton get shot, I swear to
Then why didn't you help him?
I WAS AFRAID, OKAY? Somehow, I was
sure it was Keyser Soze at that point.
I couldn't bring myself to raise my
gun to him.
It was Keyser Soze, Agent Kujan. I
mean the Devil himself. How do you
shoot the Devil in the back?
Verbal holds up a shaking, twisted hand.
What if you miss?
EXT. BARGE - NIGHT - ONE WEEK PRIOR
Verbal is hiding in the tangle of girders and cables on the
Keaton's body is completely obscured. The man in a suit
strides across the deck over to Keaton, stopping to relieve
himself on a small fire on the deck. He walks up and stands
over Keaton. The two men exchange words and the man in the
suit pulls out a pistol. He points it at Keaton.
Red and blue lights flash behind Verbal.
Verbal turns. He can just make out police cars coming in the
Verbal hears a shot from the deck of the boat. He turns in
time to see the man in the suit running across the deck toward
Verbal can barely see the man from where he is now. The man
in the suit is covered by shadows and the poor angle from
the barge. Verbal strains to see but he cannot.
The man in the suit stops long enough to pull out a lighter.
He turns and walks back across the deck and out of sight. A
moment later flames leap up from on the deck. The mesh of
steel and rubber leaves a dark and open cocoon at 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
INT. RABIN'S OFFICE - DAY - PRESENT
Arturo Marquez. Ever hear of him?
He was a stool pigeon for the Justice
Department. He swore out a statement
to Federal Marshals that he had seen
and could positively identify one
Keyser Soze and had intimate knowledge
of his business, including, but not
exclusive to, drug trafficking and
I never heard of him.
His own people were selling him to a
gang of Hungarians. Most likely the
same Hungarians that Soze all but
wiped out back in Turkey. The money
wasn't there for dope. The Hungarians
were going to buy the one guy that
could finger Soze for them.
I said I never heard of him.
But Keaton had. Edie Finneran was
his extradition advisor. She knew
who he was and what he knew.
There were no drugs on that boat. It
was a hit. A suicide mission to whack
out the one man that could finger
Keyser Soze so Soze had a few thieves
put to it. Men he knew he could march
into certain death.
But how - wait. You're saying Soze
sent us to kill someone?
I'm saying Keaton did.
Verbal cannot grasp this. He squints, trying to understand.
Verbal, he left you behind for a
reason. If you all knew Soze could
find you anywhere, why was he ready
to send you off with the money when
he could have used you to take the
He wanted me to live.
Why did he want you to live? A one-
time dirty cop without a loyalty in
the world finds it in his heart to
save a worthless rat-cripple? No,
I don't buy that reform story for a
minute. And even if I did, I certainly
don't believe he would send you to
protect her. So why?
Because he was my friend.
No, Verbal. You weren't friends.
Keaton didn't have friends. He saved
you because he wanted it that way.
It was his will.
Verbal grinds to a mental halt, trying to grasp the
Keaton was Keyser Soze.
The kind of guy who could wrangle
the wills of men like Hockney and
McManus. The kind of man who could
engineer a police line-up from all
his years of contacts in N.Y.P.D.
Verbal stands on wobbly legs, shaking with anger.
NO, NO, NO, NO, NO.
THE KIND OF MAN THAT COULD HAVE KILLED
A strange look crosses Verbal's face. Shock perhaps, or
They found her yesterday in a hotel
in Pennsylvania. Shot twice in the
It starts to sink in with Verbal. His eyes swell.
He used all of you to get him on
that boat. He couldn't get on alone
and he had to pull the trigger himself
to make sure he got his man. The one
man that could identify him.
This is all bullshit.
He left you to stay behind and tell
us he was dead. You saw him die,
right? Or did you? You had to hide
when the first police cars showed
up. You heard the shot, just before
the fire but you didn't see him die.
I knew him. He would never -
He programmed you to tell us just
what he wanted you to. Customs has
been investigating him for years. He
knew we were close. You said it
yourself. Where is the political
pressure coming from? Why are you
being protected? It's Keaton making
sure you tell us what you're supposed
to. Immunity is your reward.
BUT WHY ME? WHY NOT HOCKNEY OR FENSTER
OR McMANUS? I'm a cripple. I'm stupid.
Verbal hears the weight of his words and falls back in his
chair, Kujan looks at him with some pity; but he is too far
in to stop.
Because you're a cripple, Verbal.
Because you're stupid. Because you
were weaker than them. Because you
couldn't see far enough into him to
know the truth.
Verbal is crying now. He shakes his head, eyes closed.
If he's dead, Verbal - if what you
say is true, then it won't matter.
It was his idea to hit the Taxi
Service in New York, wasn't it? Tell
me the truth.
It was all Keaton. We followed him
from the beginning.
Kujan smiles with triumphant satisfaction.
I didn't know. I saw him die. I
believe he's dead. Christ.
Why lie about everything else, then?
You know what it's like, Agent Kujan,
to know you'll never be good? Not
good like you. You got good all fucked
around. I mean a stand up guy. I
grew up knowing I was never going to
be good at anything 'cause I was a
cripple. Shit, I wasn't even a good
thief. But I thought the one thing I
could be good at was a keeping my
mouth shut - keeping the code. I
didn't want to tell you for my
dignity, that's all, and you robbed
me, Agent Kujan. You robbed me.
Kujan pulls the microphone out from under his tie and puts
it on the desk. Verbal actually manages to snort a laugh,
but only briefly, overcome by an apparent wave of nausea.
You're not safe on your own.
You think he's..?
Is he Keyser Soze I don't know,
Verbal. It seems to me that Keyser
Soze is a shield. Like you said, a
spook story, but I know Keaton - and
someone out there is pulling strings
for you. Stay here and let us protect
I'm not bait. No way. I post today.
You posted twenty minutes ago. Captain
Leo wants you out of here a.s.a.p.,
unless you turn state's.
I'll take my chances, thank you.
It's tougher to buy the cheapest bag-
man than it is to buy a cop.
Where are you going to go, Verbal?
You gonna run? Turn states evidence.
You might never see trial. If somebody
wants to get you, you know they'll
get you out there.
Maybe so, but I'm no rat, Agent Kujan.
You tricked me, that's all. I won't
keep my mouth shut 'cause I'm scared.
I'll keep it shut 'cause I let Keaton
down by getting caught - Edie Finneran
too. And if they kill me, it's because
they'll hear I dropped dime. They'll
probably hear it from you.
Verbal stands, mustering his shattered dignity and walks
towards the door. Rabin opens it for him from outside.
For once Kujan cannot bring himself to look at Verbal. Verbal
turns to the door, stopping to look Rabin in the eye.
He steps out of the room and into the hall. Rabin follows
INT. HOSPITAL - DAY
Daniel Metzheiser comes out of Arkosh Kovash's room with a
single sheet of 15x20 inch paper in his hand. He inspects
the sketch with great interest. He folds the edges of the
paper back to make it smaller.
INT. HOSPITAL RECEPTION ROOM
Metzheiser walks behind the reception desk without asking
the nurse for permission and helps himself to the fax machine.
INT. DEPOT - LATER
Verbal is downstairs in the depot of the police station
picking up his personal belongings.
A FAT, WHITE-HAIRED COP is checking off the items as he takes
them out of the tray in which they are kept.
One watch: gold. One cigarette
lighter: gold. One wallet: brown.
One pack of cigarettes.
Verbal collects his personal items and shuffles on his lame
leg toward the exit.
INT. DISPATCHER'S OFFICE
Jack Baer stands by a fax machine. A green light comes on
next to a digital display.
THE DISPLAY READS: RECEIVING
INT. RABIN'S OFFICE
Kujan stares solemnly at the bulletin board, drinking from
Rabin's coffee cup. Rabin sits at the desk, sifting through
the mound of gapers as though considering organizing them
once and for all.
You still don't know shit.
I know what I wanted to know about
Which is shit.
No matter. He'll have to know how
close we came.
Keyser Soze or not, if Keaton's alive
he'll never come up again.
I'll find him.
Waste of time.
A rumor is not a rumor that doesn't
Nothing. Something I - forget it.
Kujan shakes his head. He gestures to the desk.
Man, you're a fucking slob.
Rabin regards the mess of his office.
Yeah. It's got its own system though.
It all makes sense when you look at
it right. You just have to step back
from it, you know? You should see my
garage, now that's a horror show...
Kujan is not listening. He has been staring at the bulletin
board, lost in thought, his unfocused eyes drifting across
the mess of papers, not looking at anything at all.
Verbal steps out into the sunlight, putting on a pair of
cheap sunglasses. He looks up and down the crowded street.
People on their way to and from lunch, no doubt.
Cars choke the street in front of the police department as
they wait for pedestrians to clear the way.
INT. DISPATCHER'S OFFICE
A single sheet of paper comes out of the fax machine, face
INT. RABIN'S OFFICE
Kujan still stares at the bulletin board.
SUDDENLY, Kujan's face changes. He leans in closer to the
bulletin board and squints his eyes. His face changes again.
First a look of puzzlement, then confusion - finally
The coffee cup tumbles from his hand. It hits the floor with
the SMASH of cheap porcelain. Coffee splatters everywhere.
Rabin snaps out of his droning and looks up in surprise.
Kujan is staring not at what is on the bulletin board, but
at the bulletin board itself.
His eyes follow the aluminum frame, mounted firmly to the
wall. One might note it's sturdy construction and it's
convenient size. Big enough to hold a lifetime of forgotten
and disregarded notes and facts. Years of police trivia that
has been hung and forgotten with the intention of finding a
use for it all someday. One might want such a bulletin board
for one's self. One would look to see who makes such a
Kujan's eyes are locked on a metal plate bearing the
It reads: QUARTET - SKOKIE, ILLINOIS Kujan's eyes flash all
over the bulletin board. He finds a picture of Rabin in the
He stands beside a scale in fishing gear. He proudly holds a
hand out to his freshly caught marlin. His eyes skim quickly
over and stop on an eight and a half by eleven inch fax sheet
of what must be a THREE HUNDRED POUND BLACK MAN. Kujan glazes
over his name, it is irrelevant. His aliases stand out.
Slavin, BRICKS, Shank, REDFOOT, Thee, Rooster...
KUJAN'S EYES WIDEN with sudden realization. He runs for the
His foot crushes the broken pieces of Rabin's coffee cup.
The cup that hovered over Verbal's head for two hours.
Kujan is in too much of a hurry to notice the two words
printed on the jagged piece that had been the bottom of the
Kujan is sprinting wildly down the hall for the stairs.
Verbal looks behind him and sees ANOTHER COP standing just
inside the doorway, lighting a cigarette. The cop notices
Verbal and watches him in the way that cops look at people
they cannot place in the category of idiot citizen, or stupid
Verbal smiles politely, meekly at the cop and walks down the
steps into the moving throng.
Kujan runs up to the desk where Verbal had only moments before
picked up his belongings. Rabin is right behind him, a look
of absolute confusion on his face.
WHERE IS HE? DID YOU SEE HIM?
The Cripple? He went that way.
The cog gestures towards the door.
Kujan runs outside looking around frantically.
Verbal limps his way carefully across the sidewalk, avoiding
people as best as he can.
He looks over his shoulder, getting farther away from the
police station. He can see Rabin and the cop on the steps,
looking around with strange, lost expressions on their faces.
He does not notice the car creeping along the curb beside
The driver's hands tap the wheel patiently. His eyes follow
Verbal as he fumbles through the crowd.
Kujan pushes and shoves, looking this way and that.
LOW ANGLE on the feet of dozens of people. Verbal's feet
emerge from the crowd on the far side. They hobble along the
SUDDENLY, the right foot seems to relax a little, the inward
angle straightens itself out in a few paces and the limp
ceases as though the leg has grown another inch.
CRANE UP VERBAL'S BODY
Verbal's hands are rummaging around in his pockets. The good
left hand comes up with a pack of cigarettes, the bad right
hand comes up with a lighter. The right hand flexes with all
Of the grace and coordination of a sculptor's, flicking the
clasp on the antique lighter with the thumb, striking the
flint with the index finger. It is a fluid motion, somewhat
Verbal lights a cigarette and smiles to himself. He turns
and sees the car running alongside.
INT. DISPATCHER'S OFFICE
Jack Beer pulls the sheet out of the fax machine and turns
it over, revealing the composite sketch of Keyser Soze.
Though crude and distorted, one cannot help but notice how
much it looks like VERBAL KINT.
The car stops. The driver gets out. IT IS KOBAYASHI, or the
man we have come to know as such. He smiles to Verbal. Verbal
steps off of the curb, returning the smile as he opens the
passenger door and gets in.
The man called Kobayashi gets in the driver's seat and pulls
A moment later, Agent David Kujan of U.S. Customs wanders
into the frame, looking around much in the way a child would
when lost at the circus.
He takes no notice of the car pulling out into traffic,
blending in with the rest of the cars filled with people on
their way back to work.