"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"

By

Christopher McQuarrie

06/11/94



BLACK

The lonely sound of a buoy bell in the distance. Water
slapping against a smooth, flat surface in rhythm. The
creaking of wood.

Off in the very far distance, one can make out the sound of
sirens.

SUDDENLY, a single match ignites and invades the darkness.
It quivers for a moment. A dimly lit hand brings the rest of
the pack to the match. A plume of yellow-white flame flares
and illuminates the battered face of DEAN KEATON, age forty.
His salty-gray hair is wet and matted. His face drips with
water or sweat. A large cut runs the length of his face from
the corner of his eye to his chin. It bleeds freely. An unlit
cigarette hangs in the corner of his mouth.

In the half-light we can make out that he is on the deck of
a large boat. A yacht, perhaps, or a small freighter. He
sits with his back against the front bulkhead of the wheel
house.

His legs are twisted at odd, almost impossible angles. He
looks down.

A thin trail of liquid runs past his feet and off into the
darkness. Keaton lights the cigarette on the burning pack of
matches before throwing them into the liquid.

The liquid IGNITES with a poof.

The flame runs up the stream, gaining in speed and intensity.

It begins to ripple and rumble as it runs down the deck
towards the stern.

EXT. BOAT - NIGHT - STERN

A stack of oil drums rests on the stern. They are stacked on
a palette with ropes at each corner that attach it to a huge
crane on the dock. One of the barrels has been punctured at
it's base. Gasoline trickles freely from the hole. The flame
is racing now towards the barrels. Keaton smiles weakly to
himself.

The flame is within a few yards of the barrels when another
stream of liquid splashes onto the gas.

The flame fizzles out pitifully with a hiss. Two feet straddle
the flame. A stream of urine flows onto the deck from between
them.

The sound of a fly zipping. Follow the feet as they move
over to where Keaton rests at the wheel house.

CRANE UP to the waist of the unknown man. He pulls a pack of
cigarettes out of one pocket and a strange antique lighter
from the other. It is gold, with a clasp that folds down
over the flint. The man flicks up the clasp with his thumb
and strikes it with his index finger. It is a fluid motion,
somewhat showy.

Keaton looks up at the man. A look of realization crosses
his face. It is followed by frustration, anger, and finally
resignation.

VOICE (O.S.)
How are you, Keaton?

KEATON
I'd have to say my spine was broken,
Keyser.

He spits the name out like it was poison.

The man puts the lighter back in his pocket and reaches under
his jacket. He produces a stainless .38 revolver.

VOICE (O.S.)
Ready?

KEATON
What time is it?

The hand with the gun turns over, turning the gold watch on
its wrist upward.

The sound of sirens is closer now. Headed this way.

VOICE (O.S.)
Twelve thirty.

Keaton grimaces bitterly and nods. He turns his head away
and takes another drag. The hand with the gun waits long
enough for Keaton to enjoy his last drag before pulling the
trigger.

GUNSHOT

The sound of Keaton's body slumping onto the deck.

MOVE OUT ACROSS THE DECK. Below is the stream of gasoline
still flowing freely. The sound of the gasoline igniting.

The flame runs in front of us towards the barrels, finally
leaping up in a circle around the drums, burning the wood of
the pallet and licking the spouting stream as it pours from
the hole.

MOVE OUT ACROSS THE DOCK, away from the boat.

The pier to which the boat is moored is littered with DEAD
BODIES. Twenty or more men have been shot to pieces and lie
scattered everywhere in what can only be the aftermath of a
fierce fire-fight.

A BARGE COMES INTO VIEW.

On the deck of the barge is a tangle of cables and girders.

The mesh of steel and rubber leaves a dark and open cocoon
beneath its base.

MOVE INTO THE DARKNESS.

Sirens are close now. Almost here. The sound of fire raging
out of control.

SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET
POUNDING THE PAVEMENT.

MOVE FURTHER, SLOWER, INTO THE DARKNESS

Voices yelling. New light flickering in the surrounding
darkness.

SUDDENLY, AN EXPLOSION.

Then silence. TOTAL BLACKNESS.

We hear the voice of ROGER "VERBAL" KINT, whom we will soon
meet.

VERBAL (V.O.)
New York. - six weeks ago. A truck
loaded with stripped gun parts got
jacked outside of Queens. The driver
didn't see anybody, but somebody
fucked up. He heard a voice.
Sometimes, that's all you need.

BOOM

INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIOR TO

PRESENT DAY

The black explodes with the opening of a door into a dark
room. Outside, the hall is filled with blinding white light.

Shadows in the shapes of men flood into the room. We can
make out men in hoods with flashlights. They are laden with
weapons.

VOICES
POLICE. SEARCH WARRANT. DON'T MOVE.

It is a blur of violent action and sound. Beams of flashlights
cut the darkness in all directions.

FINALLY:

A dozen flashlights land on one man. He lies naked in bed,
emerging from a deep sleep. He squints at the flood of
blinding white light, more annoyed than frightened.

He nearly laughs at the sound of countless guns cocking. He
is McMANUS. Age twenty-eight.

VOICE (O.S.)
Mr. McManus?

MCMANUS
Yeah.

VOICE (O.S.)
Police. We have a warrant for your
arrest.

MCMANUS
Will they be serving coffee downtown?

Two dozen black gloved hands grab him and yank him out of
bed.

INT. AUTO BODY SHOP - DAY

An old paint mixer vibrates furiously. TODD HOCKNEY, a dark,
portly man in his thirties is working on an old Fire-bird.

A YOUNG HISPANIC KID mixes paint a few feet away. SUDDENLY,
the garage door opens TO REVEAL:

A row of five men silhouetted by the bright sun. Hockney
squints.

HOCKNEY
Can I help you?

Hockney's voice is gruff.

MAN
Todd Hockney?

Hockney reaches for something just inside the door of the
Fire-bird.

HOCKNEY
Who are you?

All six men INSTANTLY PRODUCE GUNS and aim them at Hockney.

MAN
Police.

Hockney withdraws a filthy towel and wipes grease and sweat
from his forehead.

HOCKNEY
We don't do gun repair.

EXT. STREET - NEW YORK - DAY

FRED FENSTER, a tall, thin man in his thirties strolls
casually down the street. He is dressed conspicuously in a
loud suit and tie with shoes that have no hope of matching.

He smokes a cigarette and chews gum at the same time.

He happens to glance over his shoulder and notice a brown
Ford sedan with four men in it cruising along the curb. He
picks up his step a little. The Ford keeps up.

He looks ahead at the corner. He tries to look as comfortable
as he can, checking his watch as though remembering an
appointment he is late for. The Ford stays right on him.

SUDDENLY, he bolts. He gets no more than a few yards before
cars pour out of every conceivable nook and cranny. Brakes
are squealing, radios squawking, guns cocking. Fenster is
surrounded instantly. He stops short and flaps his hands on
his thighs in defeat.

INT. MONDINO'S RESTAURANT - DAY

An attractive man and woman walk quickly through the front
of a small New York cafe. They are charged with nervous,
excited energy.

The man is DEAN KEATON, a well dressed, sturdy looking man
in his forties with slightly graying hair. He looks much
better than he did in the opening scene.

The woman with him is EDIE FINNERAN, age thirty-three, poised
and attractive - Easily the calmer of the two.

They come to a staircase at the back of the restaurant leading
down to a dark room. Edie takes Keaton's arm and stops him.

EDIE
Let me look at you.

Keaton is uncomfortable in his suit, or perhaps the situation.
Still, he smiles with genuine warmth. Edie straightens his
tie and picks microscopic imperfections from his lapel.

EDIE
Now remember, this is another kind
of business. They don't earn your
respect. You owe it to them. Don't
stare them down but don't look away
either. Confidence. They are fools
not to trust you. That's the attitude.

KEATON
I'm having a stroke.

EDIE
You've come far. You're a good man.
I love you.

Keaton blinks then stammers, looking for a response. PAUSE

EDIE
Live with it.

She kisses him and runs down the steps with Keaton close
behind. Keaton playfully grabs her ass and she nearly stumbles
down the stairs.

INT. RESTAURANT - DOWNSTAIRS

They come to the bottom of the steps giggling and jabbing
each other. Once off the stairs they instantly transform as
though hit with cold air. They assume a cool, professional
exterior and walk two feet apart. One would look at them and
see only two business associates here to ply their trade.

They walk across the dimly lit dining room to a table in the
far corner where two men are already waiting. The first is
MR. FORTIER, age thirty-five, the other is MR. RENAULT, age
sixty. Both men are impeccably dressed with a distinguished
air. They stand and smile.

FORTIER
Edie, nice to see you.

EDIE
Sorry we're late.

FORTIER
Nonsense. Sit, please.

RENAULT
(struggling with
English)
You must be Mr. Keaton.

EDIE
I'm sorry. Dean Keaton.

Renault's hand is already out.

RENAULT
Monsieur Renault. A pleasure.

KEATON
How do you do?

They shake hands. Keaton takes Fortier's hand next.

FORTIER
Monsieur Fortier. So nice to finally
meet you.

Everyone sits at the table. All faces are smiling.

LOW ANGLE: UNDER TABLE

Edie's hand reaches out and finds Keaton's leg. Her hand
runs high up his inner thigh and squeezes firmly. Her face
is absolutely calm, giving no hint of what her hand is doing.

Keaton smiles and clears his throat.

INT. MONDINO'S RESTAURANT

Follow a waiter past the flight of steps.

PAN DOWN TO REVEAL:

Five sets of feet arriving at the bottom. The feet in the
middle wear shoes notably nicer than the rest.

PAN UP TO REVEAL:

SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S. CUSTOMS.
Thirtyish, dark-haired and determined.

INT. RESTAURANT - DOWNSTAIRS

FORTIER
Edie brought us your proposal and
I'll be honest. We're very impressed.
A bit skeptical, I must admit, but
impressed.

KEATON
Skeptical.

RENAULT
We find the concept brilliant, but
New York is difficult for new
restaurants. How can we be certain
that our money will be returned in
the long run?

Keaton looks at Edie and smiles confidently.

KEATON
It's simple gentlemen, design
versatility. A restaurant that can
change with taste without losing the
overall aesthetic. Our atmosphere
won't be painted on the walls.

FORTIER
This was the part of the proposal
that intrigued us, but I'm not sure
I follow.

KEATON
Let's say for example -

VOICE (O.S.)
This I had to see myself.

Keaton looks up. He sees David Kujan. Behind him are the
very serious looking guys in suits. Keaton is not happy to
see them.

KEATON
Dave. I'm in a meeting.

KUJAN
Time for another one.

KEATON
This is my attorney, Edie Finneran.
(gesturing)
This is Mr. Renault and Mr. Fortier.
Everyone, this is David Kujan.

KUJAN
Special Agent Kujan. U.S. Customs.
(Gestures to men behind
him)
These gentlemen are with the New
York police department. You look
great, Keaton. Better than I would
have thought.

RENAULT
Is there a problem, Mr. Keaton?

KUJAN
The small matter of a stolen truck-
load of guns that wound up on a boat
to Ireland last night.

Renault and Fortier's confusion is giving way to suspicion.

FORTIER
Mr. Keaton?

KEATON
If you will excuse us for a moment,
gentlemen.

KUJAN
We need to ask you some questions
downtown. You'll be quite awhile.

Renault starts to get up.

RENAULT
We should leave you to discuss
whatever this is.

KEATON
Please. Sit.

Keaton stands up and throws a wad of money on the table to
cover the check. He looks at Edie. She moves to stand, but
he sits her back down with a hand on her shoulder.

KEATON
Enjoy the meal.
(To Edie)
I'll call you.

Kujan takes him by the arm, but Keaton yanks away.

He looks out over the dozens of other faces in the restaurant.
Everyone is looking at him with some level of surprise. If
Keaton is humiliated by the whole affair, he hides it well.

INT. LOCK-UP HALLWAY - NIGHT

A police officer steps into the frame and opens the steel
door.

FOLLOW A PAIR OF FEET as they shuffle across the cement floor.
The shoes are shabby and worn, as are the wrinkled pants
that hang too low and loose at the cuffs. The right foot is
turned slightly inward and falls with a hard limp. It is
clear that the knee does not extend fully.

The sound of a steel door opening. The bottom corner of a
steel cage comes into view. Another set of feet falls into
step with the first. Another steel door and another set of
feet. Another door, another and another. Five pairs of feet
walk single file down the hall.

The lame feet are in the front of the line. They come to
another steel door, this one solid and covered with dents
and rivets.

CRANE UP TO REVEAL:

ROGER KINT, VERBAL to his few friends. He has a deeply lined
face, making his thirty-odd years a good guess at best.

From his twisted left hand, we can see that he suffers from
a slight but not debilitating palsy. Behind him are Dean
Keaton, Fred Fenster, McManus and Todd Hockney.

Verbal steps through the door, followed by the rest.

VERBAL (V.O.)
It didn't make sense that I be there.
I mean these guys were hard-core
hijackers, but there I was. At that
point, I wasn't scared, I knew I
hadn't done anything they could do
me for. Besides, it was fun. I got
to make like I was notorious.

INT. LINE-UP ROOM

The five men are ushered into the room in front of a white
wall painted with horizontal blue stripes. Each has a number
at either end to denote the height of the man in front of
it.

Between these lines are thinner blue lines to tell the
specific height in inches.

Bright lights shine on all of them. They squint, eyes
adjusting.

Keaton leans forward a bit and looks at the men in line with
him. He shares a look of familiarity with Fenster and then
McManus. Hockney smiles at all of them.

MCMANUS
(To Keaton)
Where you been, man?

VOICE (O.S.)
SHUT UP IN THERE. Alright, you all
know the drill. When your number is
called, step forward and repeat the
phrase you've been given. Understand?

The men all nod.

VOICE (O.S.)
Number one. Step forward.

Hockney takes a step forward.

He looks directly into a mirror on the other side of the
room. It is three feet square and we can make out faint light
behind it. It is a two-way. He speaks in a complete dead-
pan.

HOCKNEY
Hand-me-the-keys, you-fucking-
cocksucker.

VOICE (O.S.)
Number two. Step forward.

McManus steps up and makes a gun with his thumb and
forefinger. He mocks criminal intensity, pointing at the
mirror. He camps up his line.

MCMANUS
Give me the keys, you motherfucking,
cocksucking pile of shit, or I'll
rip off your

VOICE (O.S.)
KNOCK IT OFF. Get back in line.

McManus steps back.

The rest of the men do their bit as Verbal speaks.

VERBAL (V.O.)
It was bullshit. The whole rap was a
setup. Everything is the cops' fault.
You don't put guys like that in a
room together. Who knows what can
happen?

INT. INTERROGATION ROOM - NIGHT

McManus sits in a chair in front of a white wall. He smiles
at someone off-screen.

OVERLAPPED:

MCMANUS
This has to be embarrassing for you
guys, huh? I mean you know and I
know this is a load of shit, but at
least I don't have a captain with
his dick in my ass making me play
along. That has got to suck.

VOICE (O.S.)
Are you done?

MCMANUS
Do you work for a broad? That would
have to be the worst.

VOICE (O.S.)
Are you done?

MCMANUS
Still, I guess dignity is a small
price to pay for medical and a
pension. A small pension, mind you,
but a pension nonetheless.

VERBAL (V.O.)
They drilled us all night. Somebody
was pissed about that truck getting
knocked off and the cops had nothing.
They were hoping somebody would slip.
Give them something to go on. They
knew we wouldn't fight it because
they knew how to lean on us. They'd
been doing it forever. Our rights
went right out the window. It was a
violation. I mean disgraceful. They
went after McManus first. He was a
good guy. Crazy though. A top notch
entry man.

VOICE (O.S.)
So where'd you dump the truck?

MCMANUS
What truck?

VOICE (O.S.)
The truck with the guns, fucko.

MCMANUS
You kill me, you really do. Where's
my phone call?

VOICE (O.S.)
Right here. Suck it out.

MCMANUS
Clever guy.

VOICE (O.S.)
You want to know what your buddy
Fenster told us?

MCMANUS
Do I look stupid enough to fall for
that? Jesus Christ. Beat me if you
gotta, but no more of the candy-land
tactics, man.

VOICE (O.S.)
WHERE'S THE FUCKING TRUCK?

INT. INTERROGATION ROOM

Now Fenster is in the seat. He sweats profusely.

FENSTER
I want to call my lawyer. I don't
know about any truck. I was in
Connecticut all night on Friday.

VOICE (O.S.)
That's not what McManus said.

OVERLAPPED:

FENSTER
Who?

VOICE (O.S.)
McManus. He told us another story
altogether.

FENSTER
Was it the one about the hooker with
dysentery I swear, she never mentioned
money until I came.

VOICE (O.S.)
He told us about the truck.

FENSTER
To be honest, it was more like a
mobile home. She made a lot of money.

VOICE (O.S.)
Who took the guns off your hands?

FENSTER
Hey, are we talking about the same
thing?

VOICE (O.S.)
I'm losing my patience.

VERBAL (V.O.)
Fenster always worked with McManus.
He was a real tight-ass, but when it
came to the job, he was right on.
Smart guy. A gopher. Got whatever
you needed for next to nothing.

FENSTER
You guys got nothing on me. Where's
your probable cause?

VOICE (O.S.)
You're a known hijacker. You're
sweating like a guilty motherfucker.
That's my p.c. Save us the time.
Tell us where the truck is.

Fenster knocks on the table.

FENSTER
HELLO? Can you hear me in the back?
P.C.

He looks under his chair.

FENSTER
Where is it? I'm lookin'. It's not
happening. What's going on with that?
I want -

INT. INTERROGATION ROOM

Hockney's turn in the chair. He laughs it all off.

HOCKNEY
- my lawyer. I'll have your badge,
cocksucker.

OVERLAPPED:

HOCKNEY
I know you. You don't think I know
you're on the take. This whole fucking
precinct is dirty. You don't have a
fucking leg to stand on.

VERBAL (V.O.)
Hockney was just a bad bastard. Good
with explosives. Mean as a snake
when it mattered.

VOICE (O.S.)
You think so, tough guy? I can put
you in Queens the day of the
hijacking.

HOCKNEY
I live in Queens. What the fuck is
this? You come into my store and
lock me up in front of my customers.
What the hell is wrong with this
country? Are you guys gonna charge
me or what?

VOICE (O.S.)
You know what happens if you do
another turn in the joint?

HOCKNEY
I'll fuck your father in the shower.
Charge me, dick-head.

INT. INTERROGATION ROOM

Now Keaton sits in the chair, cool and indifferent.

VERBAL (V.O.)
Keaton was the real prize for them,
for obvious reasons.

VOICE (O.S.)
I'll charge you when I'm ready.

KEATON
With what?

VOICE (O.S.)
You know damn well, dead-man.

KEATON
Hey, that was your mistake, not mine.
Did you ever think to ask me? I've
been walking around with the same
face, same name - I'm a businessman,
fellas.

VOICE (O.S.)
What's that? The restaurant business?
Not anymore. From now on you're in
the getting fucked-by-us business.
I'm gonna make you famous, cocksucker.

Keaton shows just a flicker of contempt. The threat has hit
home.

KEATON
Like I said. It was all your mistake.
Charge me with it and I'll beat it.
Let's get back to the truck.

A FIST flies into the frame and connects with Keaton's jaw.

His head snaps back, blood flowing freely from his mouth.

INT. CELL BLOCK

Keaton is brought in to a holding area where he joins Fenster,
Hockney, Verbal and McManus. He sits in a corner and keeps
to himself. Fenster is in mid-tirade.

FENSTER
Somebody should do something. What
is this shit - getting hauled in
every five minutes? Okay, so I did a
little time, does that mean I get
railed every time a truck finds its
way off the planet?

McManus is silently staring at Keaton, who sits on a bench,
looking away.

HOCKNEY
These guys got no probable cause.

FENSTER
You're fuckin' A right, no P.C. Well
screw P.C. No right. No goddamn right.
You do some time, they never let you
go. Treat me like a criminal, I'll
end up a criminal.

HOCKNEY
You are a criminal.

FENSTER
Why you gotta go and do that? I'm
trying to make a point.

KEATON
Then make it. Christ, you're making
me tired all over.

McManus looks at Keaton.

MCMANUS
I heard you were dead, Keaton.

KEATON
You heard right.

HOCKNEY
The word I got is you hung up your
spurs, man. What's that all about?

MCMANUS
What's this?

HOCKNEY
Rumor has it, Keaton's gone straight -
cleaning house. I hear he's tapping
Edie Finneran.

MCMANUS
Who?

HOCKNEY
She's a heavy-weight criminal lawyer
from uptown. Big-time connected. She
could erase Dillinger's record if
she tried. I hear she's Keaton's
meal ticket.
(To Keaton)
Is it true?

MCMANUS
What about it, Keaton? You a lawyer's
wife. What sort of "retainer" you
giving her?

Keaton shoots McManus a fiery glare.

FENSTER
I'd say you've gotten on his main
and central nerve, McManus.

KEATON
Do your friend a favor, Fenster,
keep him quiet.

MCMANUS
You're clean, Keaton? Say it ain't
so. Was it you that hit that truck?

FENSTER
Forget him. It's not important. I
was trying to make a point.

KEATON
(Ignoring McManus)
This whole thing was a shakedown.

MCMANUS
What makes you say that?

KEATON
How many times have you been in a
lineup? It's always you and four
dummies. The P.D. pays homeless guys
ten bucks a head half the time. No
way they'd line five felons in the
same row. No way. And what the hell
is a voice line-up? A public defender
could get you off of that.

FENSTER
So why the hell was I hauled in and
cavity searched tonight?

KEATON
It was the Feds. A truck load of
guns gets snagged, Customs comes
down on N.Y.P.D. for some answers -
they come up with us. They're grabbing
at straws. It's politics - nothing
you can do.

FENSTER
I had a guy's fingers in my asshole
tonight.

HOCKNEY
Is it Friday already?

FENSTER
Fuck you. I'll never shit right again.
So who did it? Own up.

KEATON
I don't want to know.

MCMANUS
Nobody asked you, workin'-man.

HOCKNEY
Fuck who did it. What I want to know
is, who's the gimp?

ALL EYES suddenly turn on Verbal. He has been quietly
listening the whole time without uttering a word.

KEATON
He's alright.

HOCKNEY
How do I know that? How about it,
pretzelman? What's your story?

KEATON
His name is Verbal Kint. I thought
you guys knew him.

MCMANUS
Verbal?

VERBAL
Roger really. People say I talk too
much.

HOCKNEY
Yeah, I was gonna tell you to shut
up.

KEATON
We've met once or twice. Last time
was in...

VERBAL
County. I was in for fraud.

KEATON
You were waiting for a line-up then,
too. What happened with that?

VERBAL
I walked. Ninety days, suspended.

HOCKNEY
So you did it?

VERBAL
To your mother's ass.

Verbal looks away from Hockney, awaiting a violent response.

Everyone slowly starts to laugh. Hockney looks as if he is
about to boil in his own skin.

KEATON
(To Hockney)
Let it go.

Verbal smiles at Keaton appreciatively. McManus stands and
walks to the toilet in the corner of the cell. He starts
taking a leak;

MCMANUS
Look, we've all been put out by this,
I figure we owe it to ourselves to
salvage a little dignity. Now Fenster
and I got wind of a possible job -

KEATON
Why don't you just calm down'

HOCKNEY
What do you care what he says?

MCMANUS
Yeah, I'm just talking here, and
Hockney seems to want to hear me
out. I know Fenster is with me -
(to Verbal)
How about you, guy?

McManus finishes pissing.

VERBAL
I'm interested, sure.

MCMANUS
There, so you see, I'm going to
exercise my right to free assembly.

McManus taps the bars of his cell and the others LAUGH.

KEATON
I'm not kidding. Shut your mouth.

MCMANUS
You're missing the point.

KEATON
No, you're missing the point. Shut
up. I don't want to hear anything
you have to say. I don't want to
know about your "job". Just don't
let me hear you. I want nothing to
do with any of you -
(beat)
I beg your pardon but all of you can
go to hell.

MCMANUS
Dean Keaton, gone the high road.
What is the world coming to?

McManus and Keaton stare at one another for a long and tense
moment. Finally McManus turns to the others.

MCMANUS
Forget him then.
(whispering)
Now I can't talk about this here in
any detail, but listen up...

Everyone but Keaton gravitates toward McManus's cell as he
begins to speak in low, hushed tones.

VERBAL (V.O.)
And that was how it began. The five
of us brought in on a trumped-up
charge to be leaned on by half-wits.
What the cops never figured out, and
what I know now, was that these men
would never break, never lie down,
never bend over for anybody...
Anybody.

EXT. PIER - DAY - SAN PEDRO - PRESENT DAY

It is morning in the aftermath of the opening scene. Harsh
sunlight shines on a line of body bags on the dock.

Police swarm everywhere, photographers are taking pictures
of the scene while a team of men in rolled up sleeves and
plastic gloves pick at the remains.

Two men on a fire boat operate a water cannon, dousing the
smoldering remains of a burned-out ships hull.

Watching this from the edge of the pier is a man in a dark
suit. He is SPECIAL AGENT JACK BAER of the F.B.I. He is tall
and fit, in his late thirties. He gazes out over the water
thoughtfully.

A UNIFORM COP trots up to him.

COP
Who are you?

Baer holds up his badge without looking at the man.

BAER
Agent Jack Baer, F.B.I. How many
dead?

Before the cop can answer, Baer turns and walks along the
line of body bags.

COP
Fifteen so far. We're still pulling
some bodies out of the water.

Baer eyes the corpses on the dock, burned beyond recognition.

COP
Looking for anyone in particular?

Baer looks at the cop for the first time, unamused.

BAER
I don't want any of the bodies taken
away until I've had a chance to go
over this, understood?

COP
I have to clear the scene. I've got
word direct from the Chief.

Baer lights a cigarette, only half listening.

BAER
(unimpressed)
Yes, the chief. Spooky stuff. Any
survivors?

COP
Two. There's a guy in county hospital,
but he's in a coma. The D.A. has the
other guy - A cripple - from New
York I think. Listen, the Chief said -

BAER
Excuse me.

Baer walks away from the cop, ignoring him completely. He
wanders through the carnage on the pier.

EXT. OCEAN

A half mile out from the pier.

The sea is choppy, stirred by the wind. An object floats
into view a few feet away, bobbing in the water.

It is A DEAD BODY - a man, face down, wearing a CHECKERED
BATHROBE. He drifts quietly toward the open ocean.

INT. HEARING ROOM - DAY - LOS ANGELES PRESENT

Verbal Kint sits in a chair in front of a microphone attached
to a tape recorder, his brow beaded with sweat.

On the wall behind him is the seal of the STATE OF CALIFORNIA.

He is cleaner, better kept, in a well-cut suit and neatly
trimmed hair. He looks older than he did in New York - worn
down.

A flurry of voices banter off screen. Verbal's eyes follow
the voices back and forth.

VOICE #1 (O.S.)
My client offers his full cooperation
in these proceedings. In exchange,
his testimony is to be sealed and
all matters incriminating to himself
are to be rendered inadmissible.

VOICE #2 (O.S.)
The district attorney's office will
comply provided -

VOICE #1
No provisions, nothing. My clients
testimony for his immunity.

VOICE #2
May-I be frank, Counselor? I suspect
your political power as much as I
respect it. I don't know why Mr.
Kint has so many faceless allies in
City Hall, and I don't care. The
embarrassment he helped cause the
city of New York will not happen
here.

VOICE #1
Immunity.

VOICE #2
Counselor, I will prosecute your
client.

VOICE #1
Then prosecute. I will be very
impressed to see if the District
Attorney manages to bring in twenty-
seven simultaneous counts of murder
against one man with cerebral palsy.
I would think a man with your job
would agree with these alleged
"faceless people in City Hall" you
mention.

VOICE #2
One would think the counsel is veiling
a threat.

VOICE #1
Counsel isn't veiling anything.

VOICE #2
I'll take my chances then. I'll feel
safer without a job if a man like
Mr. Kint is behind bars.

VOICE #1
Mr. Kint will plead guilty to weapons
possession.

VOICE #2
You're joking.

VOICE #1
Weapons. Misdemeanor one.

VOICE #2
Counselor, you're insulting me.

VOICE #1
Counselor, you're bluffing. Shall I
push for misdemeanor two?

Voices mumble off screen. Verbal fidgets in his chair.

VOICE #2
Misdemeanor one. Fine. This is
ludicrous.

A tiny smile and a genuine look of disbelief flash across
Verbal's face.

VOICE #2
(clearing throat)
As for the rest of the charges grand
larceny, arson... murder - the
district attorney will accept the
subject's testimony in connection
with the above mentioned events and
in exchange will offer complete
immunity. The transcript... The
transcript of said testimony will be
sealed and all matters incriminating
to Mr. Kint will be rendered
inadmissible.

Verbal lets out a long-held sigh of relief.

INT. POLICE STATION - HALLWAY - DAY

David Kujan is walking quickly beside SERGEANT RABIN, a dark
and weathered looking man in his late thirties. They move up
a staircase into the heart of police headquarters.

KUJAN
What do you mean I can't see him?

RABIN
The D.A. came down here last night
ready to arraign before they even
moved him to county. Kint's lawyer
comes in and five minutes later, the
D.A. comes out looking like he'd
been bitchslapped by the boogey man.
They took his statement and cut him
a deal.

KUJAN
Did they charge him with anything?

RABIN
Weapons. Misdemeanor two.

KUJAN
What the fuck is that?

Rabin motions for Kujan to lower his voice. He points out
that they are walking through a bullpen filled with desks
where a number of other police are working within earshot.

RABIN
I give the D.A. credit for getting
that much to stick. This whole thing
has turned political. The Mayor was
here - the chief - the Governor called
this morning, for Christ's sake.
This guy is protected - From up on
high by the prince of fucking
darkness.

KUJAN
When does he post bail?

RABIN
Two hours, tops.

KUJAN
I want to see him.

Rabin comes to an office door with his name on it. He opens
it and lets Kujan in before following.

INT. RABIN'S OFFICE

RABIN
Dave, please.

Rabin's office can only be described as a disaster area. The
desk is cluttered with weeks, perhaps months or even years
of paperwork that could never conceivably be sorted out.

Above his desk is a bulletin board. It is a breathtaking
catastrophe of papers, wanted posters, rap-sheets, memos and
post-its. This is in the neighborhood of decades. Rabin is a
man with a system so cryptic, so far beyond the comprehension
of others, he himself is most likely baffled by it.

RABIN
Even if I was to let you talk to
him, he won't talk to you. He's
paranoid about being recorded and he
knows the interrogation rooms are
wired.

KUJAN
This won't be an' interrogation,
just a... friendly chat to kill time.

RABIN
(enunciating)
He won't go into the interrogation
room.

KUJAN
Someplace else, then.

RABIN
Where?

Kujan looks around Rabin's messy office.

RABIN
No, no, no, no, no.

KUJAN
If it was a dope deal, where's the
dope, if it was a hit, who called it
in?

RABIN
And I am sure you have a host of
wild theories to answer these
questions.

KUJAN
You know damn well what I think.

RABIN
That's crazy, Dave and it doesn't
matter.

He has total immunity and his story checks out. He doesn't
know what you want to know.

KUJAN
I don't think he does. Not exactly,
but there's a lot more to his story.
I want to know why twenty-seven men
died on that pier for what looks to
be ninety-one million dollars worth
of dope that wasn't there. Above
all, I want to be sure that Dean
Keaton is dead.

RABIN
He's dead.

KUJAN
Two hours. Just until he makes bail.

RABIN
They're all dead. No matter how tough
you say this Keaton was, no one on
that boat could've made it out alive.

INT. HOSPITAL - DAY

A door marked INTENSIVE CARE. The door BURSTS OPEN. SUDDENLY,
the hallway is a flurry of activity.

DOCTOR LISA PLUMBER, age fifty, walks quickly beside JACK
BAER.

Baer walks with all of the determination of a battalion of
Chinese infantry.

DOCTOR RIDGLY WALTERS, a young intern in his late twenties
rushes up to them.

PLUMBER
Ridgly, this is Special Agent Jack
Baer from the F.B.I. Agent Baer,
this is Doctor Ridgly Waiters.

RIDGLY
Nice to meet you.

BAER
Is he talking?

RIDGLY
He regained consciousness less than
an hour ago. He spoke - not English -
then he lapsed.

BAER
Hungarian?

RIDGLY
I don't...

BAER
It was Hungarian. Most of them were
Hungarians. Any fluent Hungarians on
your staff?

RIDGLY
We have a Turkish audiologist.

Ridgly opens a door and Baer barrels through.

INT. HOSPITAL ROOM

(<<..>> DENOTES LINES SPOKEN IN HUNGARIAN)

Baer comes to an abrupt halt at the foot of a bed surrounded
by a massive tangle of medical equipment. In the center of
it all is the as yet unnamed ARKOSH KOVASH, mid-thirties.
His body is nearly mummified in bandages and plaster from
waist to chin.

BOLD IS OVERLAPPED:

KOVASH
< 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
killed.>>

BAER
Will he die?

PLUMBER
There's a chance.

Baer walks over to Rovash and kneels down on the bed beside
him.

He looks closely at his battered and scalded face. He listens
to him far a moment. Kovash goes on incessantly.

KOVASH
< 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.

BAER
Call hospital security and put a man
on the door until the police get
here.

KOVASH
< 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.

PLUMBER
Is he dangerous?

BAER
Yes.

Someone picks up on the other end of the phone.

BAER
Joel, it's Baer. I'm down at L.A.
county. The guy they pulled out of
the harbor is ARKOSH Kovash... Yes,
I'm sure... No, he's all fucked up...
What? I can't hear you.
(to Arkosh)
Shut up, Hugo, I'm on the phone.
(into Phone)
Yes... No... Not until I put someone
on him. Listen, I need you to send
me someone who can speak Hungarian.
He's awake and talking like a Thai
hooker... How should I know? Get me
someone who can talk to him -

Baer is suddenly distracted by something Kovash has said. In
the middle of a long string of unintelligible dialect, he
has spouted two words that have gotten Baer's attention.

He turns and looks down at the tattered man in the bed.

Kovash realizes Baer is listening and says the two words
again.

KOVASH
Keyser - Soze.

BAER
What?

He waves his hand, gesturing for Kovash to say it again.

KOVASH
Keyser - Soze.

BAER
No shit?
(into Phone)
Joel, call Dan Metzheiser over at
Justice and find Dave Kujan from
Customs.

INT. HALLWAY - POLICE STATION

Rabin walks out of a small room. Behind him, we catch a
glimpse of a workroom with a bench covered with wires.

Kujan comes out a moment later, gently fixing his tie.

Rabin opens the door to his office and Kujan enters. Rabin
follows, looking up and down the hall before closing the
door behind them.

As the door closes we can just make out the back of Verbal's
head. He is seated in Rabin's office, smoking a cigarette.

INT. RABIN'S OFFICE

Kujan and Rabin sit down across from Verbal.

KUJAN
(exasperated)
Verbal, you know we're trying to
help you.

VERBAL
Sure. And I appreciate that. And I
want to help you, Agent Kujan. I
like cops. I would have liked to
have been a Fed myself but my C.P.
was -

KUJAN
Verbal, I know you know something. I
know you're not telling us everything.

VERBAL
I told the D.A. everything I know.

INT. WORKSHOP

Rabin stands over LOUIS, a messy looking technician at his
workbench in a room full of electronic equipment. He adjusts
several dials on a receiver until the voices of Kujan and
Verbal come clearly through a tinny speaker on the wall.

Rabin reaches over for a nearby pot of coffee.

KUJAN (VOICE)
I know you liked Keaton. I know you
think he was a good man.

VERBAL (VOICE)
I know he was good.

KUJAN
He was a corrupt cop, Verbal.

INT. RABIN'S OFFICE

VERBAL
Sure. Fifteen years ago, but he was
a good thief anyway. The cops wouldn't
let him go legit.

KUJAN
Keaton was a piece of shit.

VERBAL
You trying to get a rise out of me,
Agent Kujan?

KUJAN
I just want to hear your story.

VERBAL
It's right here.

He taps a finger on the stack of paper that Kujan brought
in.

Kujan picks it up and thumbs through it.

KUJAN
According to your statement you are
a short-con operator. Run of the
mill scams. Everything you do, you
learned from somebody else.

VERBAL
That's been suppressed. Anything in
there is inadmissible.

KUJAN
Oh, I know. Sweet deal you have.
Total immunity.

VERBAL
(laughing)
Well I do have the weapons charge.
I'm looking at six whole months hard
time.

KUJAN
(smiling)
You know a dealer named Ruby Deemer,
Verbal?

VERBAL
You know a religious guy named John
Paul?

KUJAN
You know Ruby is in Attica?

VERBAL
He didn't have my lawyer.

KUJAN
I know Ruby. He's very big on respect.
Likes me very much.

Verbal sees this getting to something. His smiles fades.

KUJAN
Now I know your testimony was sealed.
Ruby is well connected. He still has
people running errands for him. What
do you think he'd say if he found
out you dropped his name to the D.A.?

VERBAL
There's nothing in there about Ruby.

KUJAN
I'll be sure to mention that to him.

Verbal is not smiling anymore. He stares at Kujan with utter
contempt, knowing he is being shafted.

KUJAN
The first thing I learned on the
job, know what it was? How to spot a
murderer. Let's say you arrest three
guys for the same killing. Put them
all in jail overnight. The next
morning, whoever is sleeping is your
man. If you're guilty, you know you're
caught, you get some rest - let your
guard down, you follow?

VERBAL
No.

KUJAN
I'll get right to the point. I'm
smarter than you. I'll find out what
I want to know and I'll get it from
you whether you like it or not.

VERBAL
I'm not a rat.

Kujan puts his hand on the transcript of Verbal's confession.

Rabin walks in with a cup of coffee. Verbal takes it with
his good hand and sips it with a relish.

VERBAL
Ahhh. Back when I was picking beans
in Guatemala we used to make fresh
coffee. Right off the trees I mean.
That was good. This is shit, but
hey...

RABIN
Can we get started again?

KUJAN
Now what happened after the line-up?

Verbal sneers at Kujan, unable to change the subject.

EXT. POLICE STATION - NIGHT - NEW YORK - SIX WEEKS PRIOR

Keaton stops at the top of the front steps of the police
station and lights a cigarette. Edie comes out behind him,
fuming mad.

EDIE
...and the desk Sergeant is actually
trying to tell me he can't release
you? Can you believe that? You weren't
even charged. New York police - Jesus.
I want to take pictures of your face
to bring to the D.A. first thing in
the morning.

KEATON
Just forget about it.

He looks across the street and sees Fenster and McManus
talking by a newsstand. McManus is thumbing through magazines.

EDIE
Absolutely not.

Keaton looks to his right and sees Hockney trying to hail a
cab.

EDIE
I'll have this thing in front of a
grand jury by Monday.

KEATON
Edie, please. I don't want to hear
this right now. What did Renault and
Fortier say?

EDIE
They want more time to think about
investing.

KEATON
Goddamnit.

EDIE
They just said they wanted time.

KEATON
Time for what, Edie? Time to look
into me a little more, that's what.
No matter how well you cover my tracks
now, they'll find out who I am.

EDIE
Give me some credit. I got you this
far, let's go to the grand jury.
This is never going to stop if we -

KEATON
No. It's never going to stop, period.
It won't take more than a week before
every investor in this city is walking
away from us. It's finished. I'm
finished.

Just then, Verbal bumps into him on his way out the door. He
excuses himself and hobbles down the steps, oblivious to who
he has bumped into as he tries to navigate the stairs.

EDIE
Don't give up on me now, Dean.

KEATON
They'll never stop.

EDIE
I love you.

KEATON
(to himself)
They ruined me tonight.

EDIE
Dean, I love you. Do you hear me?

Verbal gets to the sidewalk and stops. He turns, realizing
it is Keaton on the steps.

EDIE
Let's just go to my place. We'll
worry about this tomorrow.

Keaton and Verbal look at one another for a moment. Keaton
then looks over to the newsstand and sees Fenster looking at
him.

KEATON
Huh?

McManus notices Fenster and glances up from his magazine to
see what he is looking at.

EDIE
Come home with me, please. Dean?

Keaton looks at Hockney who has one foot in a cab. He is
looking at Fenster and McManus who are looking at Keaton.

This makes Hockney look up at Keaton as well.

SUDDENLY, Edie tunes in to what is going on. She notices the
others on the street. She reaches over and takes Keaton by
the arm, pulling gently. She glares at the others.

EDIE
Come home, Dean.

KEATON
(distant)
Alright.

Verbal looks at everyone else from where he stands on the
street.

Fenster, McManus and Hockney all look at him and then at
each other. It is a strange moment of unspoken understanding.

All eyes finally turn to Keaton, high on the front steps of
the police station as he walks away with Edie.

INT. HALLWAY - DAY

Verbal stands in front of an apartment door. He hesitates
for a long moment before he knocks.

After a moment, the door opens and Keaton stands on the other
side of it. He is wearing a bathrobe and smoking a cigarette.

He looks at Verbal without any expression whatsoever.

KEATON
What are you doing here! How did you
find me?

VERBAL
I just asked one of the detectives
downtown. He seemed pretty happy to
tell me.

Keaton curses under his breath and motions for Verbal to
come in.

INT. EDIE'S APARTMENT

Verbal walks in and sits down on the couch, watching Keaton
cautiously. He looks around the large apartment, beautifully
furnished and decorated.

Edie walks into the room in a man's button-down shirt and
sweat pants.

EDIE
Dean, who was at the --

She stops when she sees Verbal. Verbal stands and smiles
nervously.

VERBAL
How do you do?

KEATON
Verb - Roger, this is Edie Finneran.
Edie, this is Roger Kint, he was at --

EDIE
(cold)
I know who he is.

VERBAL
I hope I didn't disturb you.

EDIE
I hope so, too, Mr. Kint. Can I get
you something to drink?

VERBAL
A glass of water would be nice.

Edie shoots a look at Keaton on her way out of the room.

Keaton tries to hush his voice despite his anger.

KEATON
What the hell do you want?

VERBAL
I wanted to talk to you. The other
guys -

KEATON
I did you a favor by standing up for
you last night, but don't think we're
friends. I'm sorry, but I have other
things -

VERBAL
They're gonna do a job. Three million
dollars, maybe more.

Keaton is speechless. Verbal sits on the couch again.

VERBAL
They sent me to offer you a cut. We
could use a fifth man - a driver -
That's all you'll do.

Edie walks in with a glass of ice water and hands it to
Verbal.

VERBAL
Thank you.

Verbal drinks slowly. Edie stands over him, her face blank.

It is an awkward moment. She deliberately makes Verbal
uncomfortable.

Long pause - finally:

EDIE
So what is it you do, Mr. Kint?

VERBAL
Umm...

EDIE
A hijacker like Dean, here? Or
something more creative?

KEATON
That's enough, Edie.

EDIE
(angry)
I don't know what you came here for,
but we won't have any part of it.

KEATON
Edie, please.

Keaton takes Edie by the arm and tries to guide her toward
the other room. She pulls away, anger turning to rage.

EDIE
I've spent the last year of my life
putting his back together again - I
won't have you come in here and -
What makes you think - GET OUT. GET
OUT OF MY HOME. HOW DARE YOU COME
HERE?

Keaton is pulling her now. She yanks her arm away and shoves
him.

EDIE
Don't touch me. Just don't --

She turns and walks out of the room. Somewhere in the back
of the apartment, a door slams. Keaton turns and glares at
Verbal. Verbal cringes.

KEATON
Get out.

VERBAL
If you'll just let me -

SUDDENLY, KEATON LUNGES. He grabs Verbal by the lapels and
lifts him off the couch, moving him effortlessly across the
room and slamming him into the wall next to the front door.

He opens it.

VERBAL
Don't hurt me.

KEATON
(seething)
Hurt you, you sonofabitch? I could
kill you.

Keaton starts to shove Verbal out the door.

VERBAL
(Quickly)
They're going to hit the Taxi Service.

Keaton freezes. LONG PAUSE.

VERBAL
New York's Finest Taxi Service.

KEATON
They - That's bullshit. They don't
operate anymore.

VERBAL
McManus has a friend in the Fourteenth
Precinct. They're coming out for one
job - Thursday. They're picking up a
guy smuggling emeralds out of South
America. Fenster and McManus have a
fence set to take the stuff.

KEATON
What fence? Who?

VERBAL
Some guy in California. His name is
Redfoot.

KEATON
Never heard of him.

Keaton moves to throw Verbal out. Verbal grabs Keaton and
holds tight.

VERBAL
You have to come.

KEATON
What's with you? What do you care
whether I come or not?

VERBAL
They - They don't know me. You do.
They won't take me unless you go.
Look at me. I need this.

KEATON
Tough break.

VERBAL
Don't tell me you don't need this.
Is this your place?

Keaton is unable to answer.

VERBAL
They're never going to stop with us,
you know that. This way we hit the
cops where it hurts and get well in
the mean time.

Keaton lets Verbal go and steps back, thinking.

VERBAL
As clean as you could ever get,
they'll never let you go now. I'm
not knocking you. You look like you've
got a good little scam going with
this lawyer -

WHAM. Keaton punches Verbal in the stomach and drops him to
one knee. Verbal coughs and tries to find his breath.

KEATON
You watch your mouth.

VERBAL
(Gasping)
Okay, okay. You say it's the real
thing? That's cool.

Keaton reaches for Verbal. Verbal flinches. Keaton gently
helps him up and guides him to the couch. They bath sit.

Keaton reaches for a pack of cigarettes and lights one for
each of them.

KEATON
I apologize.

Verbal takes one and has a few drags, catching his breath
and rubbing his stomach in pain.

Finally:

VERBAL
I was out of line.

KEATON
You okay?

VERBAL
I'll be alright.

KEATON
Well, I'm sorry.

VERBAL
Forget it.
(beat)
I'll probably shit blood tonight.

Keaton laughs. Verbal thinks about it for a moment and laughs
with him.

Keaton's laughter trails off. He thinks for a moment.

KEATON
How are they going to do it?

VERBAL
McManus wants to go in shooting. I
said no way.

KEATON
Fenster and Hockney?

VERBAL
They're pretty pissed off. They'll
do anything. Now I got a way to do
it without killing anyone: but like
I said, they won't let me in without
you.

KEATON
Three million?

VERBAL
Maybe more.

KEATON
No killing?

VERBAL
Not if we do it my way.

Long pause:

KEATON
(Lost in thought)
I swore I'd live above myself.

Verbal smiles, knowing he has him.

EXT. KENNEDY AIRPORT - DAY

VERBAL (V.O.)
New York's finest Taxi Service was
not your normal taxi service. It was
a ring of corrupt cops in the N.Y.P.D.
that ran a high-profit racket, driving
smugglers and drug dealers all over
the city. For a few hundred dollars
a mile, you got your own black and
white and a police escort. They even
had their own business cards.

OSCAR WHITEHEAD, a tall gray-haired man in his fifties comes
out of the international terminal in a white linen suit. He
holds a large suitcase in his right hand.

VERBAL (V.O.)
After a while, somebody started asking
questions and the taxi service shut
down. Ever since then, Internal
Affairs had been waiting to catch
them in the act.

Oscar stands on the curb long enough to light a cigarette.

After a moment, a POLICE CRUISER pulls up to him. He opens
the back door and gets in.

VERBAL (V.O.)
And that was how we started. McManus
came to us with the job; Fenster got
the vans; Hockney supplied the
hardware; I came through with how to
do it so no one got killed - but
Keaton - Keaton put on the finishing
touch. A little "Fuck you" from the
five of us to the N.Y.P.D.

The car drives out of the airport. A VAN follows at a
distance.

INT. POLICE CAR

SERGEANT JIM STRAUSZ, a meaty, imposing looking man in his
forties drives the car. Beside him is a thin, greasy looking
PATROLMAN, STEVE RIZZI. They are two drivers for New York's
Finest Taxi Service.

RIZZI
How was the flight?

Oscar hands Rizzi a thick envelope.

OSCAR
Will that get me to the Pierre?

Rizzi counts the stack of hundred dollar bills in the
envelope.

RIZZI
That'll get you to Cape God.

The two men laugh. Strausz watches the road, expressionless.

EXT. HIGHWAY

The cruiser heads towards the heart of Manhattan.

EXT. STREET - LATER

The police car makes its way down a wide, abandoned street.
A WHITE MINIVAN pulls out behind it and heads the same way.

INT. POLICE CAR

Strausz looks in the rear-view mirror. The white minivan is
flashing his high-beams.

STRAUSZ
What the...

RIZZI
LOOK OUT.

Strausz looks in front of him. A green minivan swerves in
front of them from out of nowhere. Strausz slams on the brakes
and skids to a halt. The white minivan rams them from behind.

Strausz and Rizzi are stunned for a moment as two more vans
screech up on either side of the cruiser, boxing it in with
only a few inches between them.

The cruiser is surrounded on all sides.

SUDDENLY, SHOTGUN BARRELS come through the open windows.
They come to rest, one on Strausz's left temple one on Rizzi's
right. RIZZI looks out of the corner of his eye.

He sees the driver of the van next to him holding the shotgun
with one hand. A stocking is over the driver's head.

Strausz looks straight ahead. The minivan in front of them
is missing a back window. Another man with a stocking on his
head aims a sub-machine gun at them from inside.

By the twisted right hand holding the front of the gun, we
know it is Verbal. Strausz and Rizzi raise their hands without
being asked.

EXT. STREET

The driver of the white van gets out with a gallon jug in
one hand and a sledge hammer in the other.

Moving like lightning, he jumps onto the roof of the police
car

He stands on the front of the roof and swings the hammer
down.

INT. POLICE CAR

SMASH

The hammer punches three huge holes in the windshield and
finally caves it in. Strausz and Rizzi are covered with
pebbles of broken glass. Whitehead clutches his bag in the
back seat. He trembles in terror.

The man standing on the roof doubles over and sticks a gun
in Strausz's face. His face hangs upside down and looks
gruesome - covered from the mouth up in a stocking. By the
voice, we know it is McManus.

MCMANUS
GIVE ME THE SHIT.

STRAUSZ
Give it up.

Oscar hands the suitcase up front and Strausz passes it to
McManus.

INT. FRONT VAN

Through the front windshield of the front van we see Keaton
at the wheel. Verbal is behind him leaning out the back
window.

Beneath Keaton's stocking mask we see he is trembling and
sweating - sickened by what he is doing.

He glances up at the rear-view mirror and looks at the scene
outside. He looks down at the floor in shame, shaking his
head.

INT. POLICE CAR

McMANUS The money. Strausz looks at Rizzi.

MCMANUS
THE MONEY. LET'S HAVE IT.

Rizzi hands the money through the remains of the windshield.

McManus takes the money and stuffs it in his jacket. He steps
back and takes the cap off of the gallon jug. He quickly
pours some kind of liquid all over the roof of the car.

STRAUSZ
Do you know who I am?

A hand reaches into the driver's side window and rips
Strausz's badge off of his shirt.

Strausz dares to turn his head right at the shotgun pointing
at him through the window. On the other end is a masked and
smiling Todd Hockney.

HOCKNEY
We do now, Jerk-off.

McManus lights a pack of matches and drops them on the roof
of the car as he jumps off. THE LIQUID IGNITES, the roof of
the car is instantly in flames.

Strausz and Rizzi attempt to bail out, but the vans are too
close for them to open the doors. The vans pull away.

Strausz and Rizzi escape from the car. Oscar is trapped
inside, SCREAMING. Strausz and Rizzi stop, each expecting
the other to go let Oscar out.

EXT. STREET - LATER

The scene is swarming with fresh police cars. Strausz and
Rizzi are fielding questions from a dozen other cops.

Photographers are everywhere.

VERBAL (V.O.)
The papers got Keaton's call that
day and were on the scene before the
cops were.

Strausz and Rizzi were indicted three days later. Within a
few weeks, fifty more cops went down with them. It was
beautiful. Everybody got it right in the ass, from the chief
on down.

INT. GARAGE - NIGHT

Hockney, Fenster, McManus and Verbal are all laughing in a
secluded garage. They are still in their black clothes from
the robbery. Hockney is throwing everyone a can of beer.

Keaton sits off by himself. He watches the others, unable to
join in the festivities.

The others sit around a cheap card table. It is covered with
emeralds. Dozens of them. Everyone is in awe.

MCMANUS
There's more than I thought.

HOCKNEY
When does the fence come?

MCMANUS
Redfoot? He never comes to see me. I
have to go see him.

VERBAL
In California?

MCMANUS
Yeah. It'll take a few days. Me and
Fenster.

HOCKNEY
Hold the fuckin' phone. You and
Fenster? No, no, no.

MCMANUS
Guys, come on.

HOCKNEY
I'm sure you can understand my
hesitation.

FENSTER
Then who goes?

HOCKNEY
We all go. How about it, Keaton?

All eyes turn to Keaton. He comes out of his trance.

KEATON
We need to lay low for a while.

MCMANUS
Fine with me.

PAUSE

Everyone looks at each other, their moment of distrust blowing
over. All eyes drift back to the emeralds on the table.

Hockney begins to snicker, then McManus, then Fenster. Verbal
joins in at last. McManus grabs Verbal and hugs him, shaking
him violently.

MCMANUS
My boy with the plan.

SUDDENLY, everyone yells and pours beer over Verbal's head.

He laughs as he is drenched in white foam, nearly choking as
the others chant his name.

Keaton watches from across the room, trying to smile in vain.

INT. WAITING ROOM - LAW OFFICE - DAY

Keaton and Verbal sit side by side on a sofa. A sign on the
door behind them reads: MONTGOMERY and LaGUARDIA - ATTORNEYS
AT LAW.

VERBAL
We're going to miss the flight.

KEATON
We'll make it.

VERBAL
Don't do this. Send her a card -
something.

KEATON
We'll make it.

VOICE (O.S.)
Ms. Finneran will be with you in a
moment.

Keaton stands and paces across the waiting room. He comes to
a set of glass doors and looks through them.

Keaton realizes he is standing on a balcony overlooking a
library below.

He sees Edie working in the library with an old woman. The
two women talk for a moment.

SUDDENLY, Keaton turns with a start. Verbal is standing behind
him.

VERBAL
We're gonna miss the plane.
(beat)
She'll understand.

Edie is smiling and laughing with the old woman. Keaton's
face is marked with guilt and anguish. Keaton turns and walks
out of the waiting room. Verbal takes one last glance at
Edie and turns back to Keaton.

INT. LIBRARY

Edie seems to sense something behind her. She turns and looks
through the glass doors and up into the waiting room.

NOTHING IS THERE. She goes back to chatting with the old
woman.

INT. RABIN'S OFFICE -DAY - LOS ANGELES - PRESENT

KUJAN
Heartwarming. Really, I feel weepy.

VERBAL
You wanted to know what happened
after the line-up, I'm telling you.

KUJAN
Oh come on, Verbal. Who do you think
you're talking to? You really expect
me to believe he retired? For a woman?
Bullshit. He was using her.

VERBAL
He loved her.

KUJAN
Sure. And I'm supposed to believe
that hitting the Taxi Service wasn't
his idea either.

VERBAL
That was all Fenster and McManus.

KUJAN
Come on. Keaton was a cop for four
years. Who else would know the Taxi
Service better? That job had his
name all over it.

VERBAL
You keep trying to lay this whole
ride on to Keaton. It wasn't like
that. Sure he knew, but Edie had him
all turned around. I'm telling you
straight, I swear.

KUJAN
Let me tell you something. I know
Dean Keaton. I've been investigating
him for three years. The guy I know
is a cold-blooded bastard. L.A.P.D.
indicted him on three counts of murder
before he was kicked off the force,
so don't sell me the hooker with the
heart of gold.

VERBAL
You got him wrong.

KUJAN
Do I? Keaton was under indictment a
total of seven times when he was on
the force. In every case, witnesses
either reversed their testimony to
the grand jury or died before they
could testify. When they finally did
nail him for fraud, he spent five
years in Sing Sing. He killed three
prisoners inside - one with a knife
in the tailbone while he strangled
him to death. Of course I can't prove
this but I can't prove the best part
either.

Kujan pauses to drink some coffee.

KUJAN
Dean Keaton was dead. Did you know
that? He died in a fire two years
ago during an investigation into the
murder of a witness who was going to
testify against him. Two people saw
Keaton enter a warehouse he owned
just before it went up. They said he
had gone in to check a leaking gas
main. It blew up and took all of
Dean Keaton with it. Within three
months of the explosion, the two
witnesses were dead, one killed
himself in his car and the other
fell down an open elevator shaft.

INT. WORKSHOP

Rabin and Louis look at one another as they listen.

KUJAN
(on speaker)
Six weeks ago I get an anonymous
call telling me I can find Keaton
eating at Mondino's with his lawyer,
and there he is. Now because he never
profited from his alleged death and
because someone else was convicted
for the murder we tried to pin on
Keaton, we had to let him go.

INT. RABIN'S OFFICE

KUJAN
He was dead just long enough for a
murder rap to blow over, then he had
lunch.

VERBAL
I don't know about that.

KUJAN
I don't think you do. But you say
you saw Keaton die. I think you're
covering his ass and he's still out
there somewhere. I think he was behind
that whole circus in the harbor. My
bet is he's using you because you're
stupid and you think he's your friend.
You tell me he's dead, so be it. I
want to make sure he's dead before I
go back to New York.

VERBAL
(Blurting)
He wasn't behind anything. It was
the lawyer.

KUJAN
What lawyer?

Pause.

KUJAN
What lawyer, Verbal?

Verbal stammers for a moment, looking around wildly.

VERBAL
Back when I was in that barber shop
quartet in Skokie, Illinois I used
to have.

Kujan grabs Verbal's shirt and yanks him half out of his
seat.

KUJAN
You think I don't know you held out
on the D.A.? What did you leave out
of that testimony? I can be on the
phone to Ruby Deemer in ten minutes.

VERBAL
The D.A. gave me immunity.

KUJAN
NOT FROM ME, YOU PIECE OF SHIT. THERE
IS NO IMMUNITY FROM ME. You atone
with me or the world you live in
becomes the hell you fear in the
back of your tiny mind. Every criminal
I have put in prison, every cop who
owes me a favor, every creeping
scumbag that works the street for a
living, will know the name of Verbal
Kint. You'll be the lowest sort of
rat, the prince of snitches, the
loudest cooing stool pigeon that
ever grabbed his ankles for the man.
Now you talk to me, or that precious
immunity they've seen so fit to grant
you won't be worth the paper the
contract put out on your life is
printed on.

Verbal looks at Kujan with utter contempt.

VERBAL
There was a lawyer. Kobayashi.

KUJAN
Is he the one that killed Keaton?

VERBAL
No. But I'm sure Keaton's dead.

KUJAN
Convince me. Tell me every last
detail.

INT. HOSPITAL - DAY

(<<..>> DENOTES LINES SPOKEN IN HUNGARIAN)

Kovash's room is now filled with people. Jack Baer stands
next to DANIEL METZHEISER, a balding man in his forties.
Next to him is Doctor Plumber. Across from her is Ridgly
Walters.

Sitting beside the bed is TRACY FITZGERALD, a casually dressed
woman in her late twenties. She holds a 15x20 inch drawing
pad on her lap. Police fill the hall. People are talking
loudly outside. LIONEL BODI, a cop in his mid-twenties pushes
his way in.

BAER
Are you the translator?

BODI
Patrolman Lionel Bodi, sir.

PLUMBER
Agent Beer, this is getting out of
hand.

BAER
I'll see to it we're gone before he
blows his porch light, Doctor.

Baer gestures to Tracy.

BAER
(to Bodi)
This is Tracy Fitzgerald. She's a
composite sketch artist from county.

The young couple smile at one another nervously.

BODI
Hi.

TRACY
Hi.

METZHEISER
(impatient)
I've got a noon meeting, Baer.

PLUMBER
Agent Baer, please.

BAER
Everyone calm down.
(to Bodi)
Ask this man about the shoot-out in
the harbor.

BODI
<>

Kovash smiles with relief when he hears his own language.

KOVASH
< that one, but at least I can talk to
you.>>

BODI
< F.B.I. He is here to help you. He
wants to know what happened in the
harbor.>>

KOVASH
< take him back to Hungary.>>

BODI
He says they were buying. It doesn't
make sense. I'm sorry, I'm a little
rusty. They were there to buy
something.

BAER
Dope, we know.

KOVASH
< God help me, they are all idiots.
(talking slowly)
We were there to buy a man, you simple
boy. A witness. I don't know his
name. A witness who knew the Devil.>>

BODI
Not dope. Something else. Some what?.
He doesn't know what they were buying.
But not dope... people.

KOVASH
< even say it slow enough for you to
understand it. Just tell this man I
want protection. Real protection.>>

METZHEISER
Your witness is whacked, Baer.

BODI
He says he'll tell us everything he
knows if we protect him.

BAER
Tell him fine.

BODI
<>

KOVASH
< from the ridiculous man. I am going
to be killed. I have seen the Devil
and looked him in the eye.>>

BODI
No good. He needs guarantees. He
says... his life is in danger... He
has seen the Devil... looked him in
the eye.

METZHEISER
I'll be on my way.

Baer grabs Metzheiser by the arm.

BAER
(to Bodi)
Tell him to tell this man what he
was telling me before. Who is the
Devil? Who did he see?

BODI
< about?>>

KOVASH
< shooting everyone in sight.>>

Metzheiser is suddenly interested.

BODI
He says he saw him in the harbor. He
was shooting... Killing... Killing
many men.

METZHEISER
Did he say Keyser Soze? He saw Keyser
Soze?

KOVASH
< seen his face. I see it when I close
my eyes.>>

BODI
He says he knows his face. He sees
it when he closes his eyes.

METZHEISER
Ask him what this Devil looks like.

BAER
(to Tracy)
Ready?

Tracy holds up her pad and pencil. She nods.

EXT. LOS ANGELES SKYLINE - DAY - FIVE WEEKS PRIOR

VERBAL (V.O.)
McManus' fence was this guy named
Redfoot. He had a good reputation
around L.A. Seemed like a good guy -
Looked like a cowhide full of
thumbtacks.

EXT. FRIENDSHIP BELL - NIGHT

All five guys stand in a group. It is utterly quiet. An old
but well kept Cadillac creeps into the lot from the far end
and idles up to them. The windows are tinted too much to see
in. The car passes within a few feet of them and drives on.

A moment later, a chrome and leather monster of a Harley
Davidson pulls into the lot. The rider is dressed in an almost
comical array of leather, silver and suede.

He waves to the Caddy as it parks a few yards from Keaton
and the others. It sits quietly, almost menacing.

As he gets closer, we can see he is wearing one black boot
and one red. Keaton is still looking at them when the bike
pulls up to them and stops.

REDFOOT and McManus shake hands.

REDFOOT
How've you been?

MCMANUS
Good. You?

REDFOOT
Alright. How's it going, Fenster?

FENSTER
Getting by.

REDFOOT
You got it?

McManus holds up a briefcase.

Redfoot takes it and gets off the bike. He walks over to the
Caddy. The door of the Caddy opens. Redfoot hands the case
to someone inside that we cannot see. The door closes.

KEATON
(whispering)
Snazzy dresser this guy.

A moment later, the door of the Caddy opens again. Someone
hands Redfoot a different briefcase and he walks back over
to McManus.

He hands him the case.

McManus hands the case back to Hockney. Hockney opens it,
revealing the stacks of money inside.

REDFOOT
You must be Keaton.

MCMANUS
Jesus, I'm sorry. Redfoot, this is
Dean Keaton, that's Todd Hockney,
and that's Verbal Kint.

REDFOOT
(to Verbal)
The man with the plan.

Verbal smiles.

REDFOOT
Are you guys interested in more work?

McManus moves to answer, but Keaton cuts him off.

KEATON
We're on vacation.

REDFOOT
I've got a ton of work and no good
people.

MCMANUS
What's the job?

Keaton shoots McManus a foul look. McManus pretends not to
notice.

REDFOOT
A jeweler out of Texas named Saul.
He rents a suite at a hotel downtown
and does free appraisals. Buys
whatever he can. Word is he moves
with a lot of cash. I'll take the
merchandise, you keep the green.

HOCKNEY
Security?

REDFOOT
Two bodyguards. Pretty good.

MCMANUS
Give us time to check it out?

REDFOOT
I'd expect nothing less.

MCMANUS
We'll call you.

REDFOOT
Take your time. Enjoy L.A.

KEATON
A friend of mine in New York tells
me you knew Spook Hollis.

REDFOOT
I hear you did time with old Spook.
Yeah, he was a good egg. I used to
run a lot of dope for him. Fuckin'
shame he got shivved.

KEATON
I shivved him.

Now McManus is shooting the angry look at Keaton.

KEATON
Better you hear it from me now than
somebody else later.

REDFOOT
Business or personal?

KEATON
A little of both.

REDFOOT
Ain't it a crime? Call if you're
interested.

Redfoot fires up his bike and takes off with the Caddy close
behind.

MCMANUS
(to Keaton)
What's your fucking problem?

KEATON
One job, that was the deal.

MCMANUS
Take it as it comes, brother.

KEATON
This is bullshit.

McManus laughs and walks away. Fenster and Hockney follow.

Verbal turns to Keaton.

VERBAL
What is it Keaton?

KEATON
(distant)
Something - I don't know.
(shaking himself)
I ever tell you about the restaurant
I wanted to open?

Keaton walks off. Verbal follows him in confusion.

VERBAL (V.O.)
L.A., was good for about two hours.
We were from New York. There's no
place to eat after one; you can't
get a pizza that doesn't taste like
a fried fruit-bat, and the broads
don't want to know you if you don't
look like a broad. Within a few days
the last of us was ready to go back
to N.Y., but Keaton wouldn't have
it, so he really didn't have a choice.
We went to work.

INT. PARKING GARAGE - NIGHT

McManus walks along a line of cars. He comes across a black
Mercedes and stops. He looks down at the license plate and
walks over to the next car, a green Honda. He pulls a slimjim
out of his jacket and pops the lock on the Honda. He reaches
in and opens the hood. He walks around and sticks his head
in the engine.

INT. VAN

Verbal sits behind the wheel. Keaton is beside him. Hockney
and Fenster are in the back. They all watch McManus from
where they are parked a few dozen yards away.

INT. PARKING GARAGE

DING-DING

The elevator bell sounds at the far end of the garage. The
doors open. Two men in ill-fitting suits get out and look
around cautiously. The first is TUCCI, a big bellied, white
haired menace. The other is HIGHAM, lean and bad skinned.

They are bodyguards and give it away by their every careful
move.

They turn back to the elevator and motion to someone inside.

Out walks SAUL BERG, a slightly overweight man in his forties
with an open collar silk shirt and a thick gold chain on his
hairy chest. He carries a LARGE ALUMINUM BRIEFCASE.

He lets his guards do the worrying. He walks straight to his
car.

Saul passes McManus under the hood of the Honda. He takes
out his keys and pushes a button on his key chain. The
Mercedes beeps three times and tells Saul his alarm is off.

Tucci keeps an eye on McManus. Higham watches Saul.

McManus pretends to tinker with the car's engine. He has put
a pistol just inside the grill and keeps it within reach.

The van on the other side of the garage starts and pulls out
of the spot. It cruises over toward the Mercedes.

Tucci sees the van. He and Higham are suddenly busy trying
to keep track. They hear laughing behind them and turn around.

FENSTER and HOCKNEY are walking towards them. They are
sporting mustaches and sunglasses in addition to matching
suits, each with loud plaid sport coats, decades out of style.
Saul glances at Tucci and Higham.

HIGHAM
Just get in the car Saul.

Under the hood of the Honda and out of sight, McManus pulls
on a black ski mask. The van gets closer.

HOCKNEY
I get out of the car, and man if the
thing wasn't wrecked. And I see this
broad in the back seat with nothing
on.

Saul gets in the car quickly but calmly as Fenster and Hockney
laugh and talk louder. They look drunk - The desired effect.

HOCKNEY
I'm laughing so hard I can't breathe -

Tucci and Higham try to take it all in stride. Saul's reverse
lights come on and he begins to back out of the spot.

HOCKNEY
...And the fat guy comes out of the
car with his pants on backwards and
says -

SUDDENLY, the van revs and screeches to a halt behind Saul's
Mercedes, blocking him in. Hockney and Fenster drop the drunk
act and snap to. They both pull out guns and start screaming.

HOCKNEY
DON'T MOVE, YOU FUCKERS.

FENSTER
RIGHT THERE. FREEZE.

McManus comes up from under the hood.

Tucci and Higham throw their hands in the air. Hockney and
Fenster grab them and reach into their belts to get their
guns.

Keaton jumps out of the van and runs up to Saul's car, his
face covered in a ski mask. He yanks on the door handle but
it is locked. Saul sits in terror behind the wheel. Keaton
pulls out a pistol and smashes the window with it.

KEATON
Give me the case.

Saul reaches over for the case. Keaton trains the gun on
him.

SUDDENLY, Saul comes up with a pistol and points it at Keaton.
Keaton sidesteps and grabs his wrist. The gun goes off into
the fender of the Honda.

Hockney and Fenster both look over at the sound of the gun.

Tucci and Higham seize the opportunity. Tucci grabs Hockney,
Higham grabs Fenster. The four men grapple for the guns.

Fenster's gun falls to the floor. McManus picks it up. He
trains a pistol on each bodyguard and takes a breath. They
are some ten feet apart and moving erratically. Hockney and
Fenster constantly fall in the line of fire.

McManus walks around the four men, keeping a pistol trained
on each of the guards. Finally he comes to an angle where
they are all in front of him. One guard is a few feet away,
the other is ten feet past him.

McMANUS' P.O.V.

The closer of the two moves in and out of the sights of the
pistol in McManus' right hand, the one farther away does the
same with the left.

Verbal gets out of the van and moves towards them to help.

BOOM

Both of McManus' guns go off like one shot. Tucci and Higham
collapse, each with a bullet in his head

PAUSE

The only sound is Saul grappling with Keaton for the gun.
His arm is halfway out the window. His elbow rests in the
door frame.

Keaton cannot get the gun out of his hand. Finally, he pushes
down with all his weight. Saul's elbow breaks backwards on
the door frame. He screams in agony. The gun falls from his
hand.

All five of the men look at each other for an impossibly
long moment. The confusion is only aggravated by Saul's
screaming.

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.

BOOM

VERBAL SHOOTS SAUL. Keaton looks at him in surprise. Verbal
trembles more than he does.

The garage is silent.

HOCKNEY
What the hell?

MCMANUS
Bad day. Fuck it.

DING-DING

The elevator light comes on. All five men look.

KEATON
Move.

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.

INT. VAN

The mood in the van is grim. Everyone is silent. Keaton pops
the clasps on the case and opens it.

KEATON
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
WHITE POWDER.

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.

KEATON
What are you doing?

MCMANUS
What does it look like? I'm going to
kill him.

KEATON
We did it your way. Now I'll deal
with him.

MCMANUS
You gonna kill him?

KEATON
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.

MCMANUS
What the fuck is this, Redfoot?

REDFOOT
Get a grip. I didn't know.

KEATON
You didn't know.

REDFOOT
The job got thrown to me by this
lawyer.

KEATON
Who is he?

REDFOOT
Some Limey. He's a middle-man for
somebody. He doesn't say and I don't
ask.

KEATON
We want to meet him.

REDFOOT
He wants to meet you. He called last
night and asked me to set it up.
What do I tell him'

KEATON
Tell him we'll meet.

MCMANUS
If you're lying, Redfoot...

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.

REDFOOT
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.

MCMANUS
Fuck you.

Redfoot drives off. The Caddy waits until he is completely
out of sight before following.

INT. RABIN'S OFFICE - DAY - PRESENT

KUJAN
So this lawyer...

VERBAL
Kobayashi.

KUJAN
Came from Redfoot.

VERBAL
Right.

KUJAN
And why leave this out when you talked
to the D.A.?

Knock at the door.

Rabin sticks his head in.

RABIN
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
Rabin.

KUJAN
Jack. What are you doing here?

BAER
I've been looking all over for you.
You still after the coke that walked
out of that blood bath in the harbor?

KUJAN
Yeah.

BAER
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
deal.

KUJAN
There was ninety-one million -

BAER
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.

KUJAN
What was the money for?

BAER
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
highly sensitive.

KUJAN
I don't get it.

BAER
They tell me you got the cripple
from New York in there. He mention
Keyser Soze?

KUJAN
Who?

BAER
Bear with me here...

INT. RABIN'S OFFICE - LATER

BOOM - The door bursts open.

KUJAN
Who is Keyser Soze?

Verbal looks up in shock. He drops his cigarette and trembles
at the mere mention of the name.

VERBAL
Ahhh fuck.

INT. HOLLYWOOD ATHLETIC CLUB - DAY - TWO WEEKS PRIOR

Keaton stands while the rest sit and listen.

KEATON
So I need to know if anyone can think
of anybody. Somebody with power.
Enough to possibly track us from New
York.

MCMANUS
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.

KOBAYASHI
Mr. Keaton?

Keaton stands back and lets him in. Kobayashi looks them
over.

KOBAYASHI
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.
McManus.
(to Verbal)
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
benefit.

Everyone looks at one another in shock that he would know
this.

KEATON
What can we do for you?

KOBAYASHI
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.

KEATON
Who's your boss?

KOBAYASHI
My employer wishes to remain
anonymous.

KEATON
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?

KOBAYASHI
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.

KEATON
What is this?

VERBAL
Who's Keyser Soze?

KOBAYASHI
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.

VERBAL
Who's Keyser Soze?

KOBAYASHI
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.

KEATON
An order.

KOBAYASHI
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.
(beat)
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.

KOBAYASHI
Two months ago, Mr. Hockney stole a
truck carrying gun parts through
Queens -

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.

KOBAYASHI
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.

KOBAYASHI
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
York.

KEATON
You set up the line-up.

KOBAYASHI
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.

KEATON
What about Redfoot?

KOBAYASHI
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.

FENSTER
So why tell us?

KOBAYASHI
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.

HOCKNEY
Who is this guy? How do we know you
work for Soze?

KOBAYASHI
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.

MCMANUS
This is a load of shit.

KOBAYASHI
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.

KEATON
Give me one good reason why I
shouldn't kill you right now.

Kobayashi smiles and puts his briefcase on the table in front
of him.

KOBAYASHI
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"
and "KINT".

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.

KEATON
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.

HOCKNEY
They know everything.

MCMANUS
This is my life in here. Everything
I've done since I was eighteen.

FENSTER
Everybody I ever worked with, did
time with.

HOCKNEY
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.

KEATON
This is not right.

FENSTER
I don't know. Who was that guy that
used to talk about Soze in New York?

MCMANUS
Bricks Marlin.

FENSTER
Yeah. He said he did jobs for him.
Indirect stuff. Always five times
more money than the job was worth.

KEATON
Come on. The guy is a pipe dream.
This Kobayashi is using him for window
dressing.

FENSTER
I don't know. This is bad.

HOCKNEY
It's bullshit. This guy could be
L.A.P.D. I think it's a setup.

FENSTER
The way I hear it, Soze is some kind
of butcher. No pity.

KEATON
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.

VERBAL
Who is Keyser Soze?

INT. RABIN'S OFFICE - DAY - PRESENT

Kujan leans into Verbal's face. He hangs on his every word.

VERBAL
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.

VERBAL (V.O.)
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.

VERBAL (V.O.)
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
business.

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.

VERBAL (V.O.)
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
really was.

SUDDENLY, Soze pulls out a pistol and shoots the two men
with guns. He turns and aims at the third man holding his
child.

The man threatens to cut the child's throat, slicing just
enough to draw blood.

SOZE FIRES.

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
Hungarian.

VERBAL (V.O.)
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.

VERBAL (V.O.)
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.

VERBAL (V.O.)
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

KUJAN
Do you believe in him, Verbal?

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.

INT. WORKSHOP

Jack Baer and Rabin listen to Verbal on the speaker with one
ear.

RABIN
You give this any weight, Agent Baer?

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
Hulk.

RABIN
Had you heard of him before?

BAER
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
something.

RABIN
But you're here.

BAER
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

VERBAL
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.

KUJAN
And this is why you never told the
D.A.

VERBAL
You tell me, Agent Kujan. If I told
you the Loch Ness Monster hired me
to hit the harbor, what would you
say?

KUJAN
Turn state's evidence. Take the stand
on this and we'll hear it out.

VERBAL
I've got immunity now. What can you
possibly offer me?

KUJAN
If there is a Keyser Soze he'll be
looking for you.

VERBAL
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.

KUJAN
So why play into his hands? We can
protect you.

VERBAL
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
of me.
(beat)
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.)

BODI
<>

KOVASH
<>

BODI
(To Tracy)
The nose is sharper. Smaller too.
(to Arkosh in Hung.)
< something earlier about it.>>

KOVASH
< dark.>>

BODI
<>

KOVASH
<>

BODI
(to Tracy)
He says the hair is longer and
lighter.

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

VERBAL
That was how I ended up in a barber
shop quartet in Skokie, Illinois.

KUJAN
This is totally irrelevant.

VERBAL
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.

KUJAN
Can we just get back to Kobayashi?

VERBAL
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
us.

Kujan looks at his watch.

KUJAN
You're stalling, Verbal.

VERBAL
Give a guy a break, huh?

KUJAN
What happened?

Verbal slumps a bit. He realizes his stalling tactic has
failed.

VERBAL
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
together.

KUJAN
Then what?

VERBAL
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.

KUJAN
What call?

VERBAL
Kobayashi told us where we could
find Fenster.

EXT. BEACH - NIGHT - TWO WEEKS PRIOR

Keaton looks out over the ocean and smokes a cigarette.

KEATON
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.

MCMANUS
I worked five years with Fenster.
More jobs, more money than I can
count.

KEATON
I'm sorry, McManus.

MCMANUS
I want to bury him.

KEATON
No time.

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.

MCMANUS
YOU WILL FIND TIME. You're not the
only one with debts, man.

KEATON
No shovel.

MCMANUS
WITH OUR HANDS.

MT. BEACH

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.

HOCKNEY
This is nuts.

MCMANUS
Dig.

HOCKNEY
This is fucking dry sand, man. When
he rots, the surfers'll smell him
from a hundred yards out.

MCMANUS
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.

HOCKNEY
Keaton, we gotta go. They're gonna
find him.

KEATON
Dig.

VERBAL
What are we gonna do?

HOCKNEY
I can run. I got no problem with
that.

KEATON
They don't seem to have a problem
with it either.

MCMANUS
Nobody runs.

HOCKNEY
This ain't my boy we're burying. I
don't owe anybody.

MCMANUS
We got a deal here.

HOCKNEY
Since when?

MCMANUS
Since tonight.

HOCKNEY
Fuck that.

MCMANUS
It's payback.

KEATON
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
me.
(beat)
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.

KUJAN
And after they killed Fenster nobody
would run?

VERBAL
I wanted to. I thought we could make
it.

KUJAN
Why didn't you say anything?

VERBAL
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
a newspaper.

We see a wire running from Hockney's ear to his collar.

HOCKNEY
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.

INT. HALLWAY

Keaton and Verbal listen for anything on the radio.

INT. LOBBY

The elevator opens. Kobayashi and his bodyguards get on the
elevator.

INT. ELEVATOR

The elevator is empty except for the three men. McManus has
vanished. Kobayashi presses a button and they are on the
way.

SUDDENLY, the ceiling hatch opens and McManus' arm comes
out.

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.

MCMANUS
Press forty.

INT. HALLWAY - FORTIETH FLOOR

The elevator opens and Kobayashi is greeted by Keaton and
Verbal. McManus drops from the ceiling hatch and pushes him
out.

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.

KEATON
The answer is no.

KOBAYASHI
Mr. Soze will be most -

KEATON
Listen to me, cocksucker. There is
no Keyser Soze. If you say his name
again, I'll kill you right here.

KOBAYASHI
A strange threat. I can only assume
you're here to kill me anyway. Pity
about Mr. Redfoot.

MCMANUS
Fair trade for Fenster.

The elevator opens and Hockney steps out.

KOBAYASHI
Ahh, Mr. Hockney. Do join us.

KEATON
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
off.

KOBAYASHI
Mr. So- My employer has made up his
mind. He does not change it.

KEATON
Neither do we.

MCMANUS
You got Fenster, you may get more,
but you won't get us all. Not before
one of us gets to you.

KOBAYASHI
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...

MCMANUS
Just so you know. I'm the guy. I'm
the one that's gonna get through to
you.

KOBAYASHI
I am sorry, Mr. McManus.
(to Keaton)
I implore you to believe me, Mr.
Keaton. Mr. Soze is very real and
very determined.

KEATON
We'll see.

McManus holds a pistol to Kobayashi's chin. The lawyer's
cool eyes never falter.

KOBAYASHI
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.

KEATON
What did you say?

KOBAYASHI
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.

KOBAYASHI
No matter. Kill away, Mr. McManus.

KEATON
You're lying.

KOBAYASHI
Am I?

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.

INT. LOBBY

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
maintenance men.

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.

KOBAYASHI
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.

KOBAYASHI
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.

KOBAYASHI
I'll take care of the dead men
downstairs. We'll add them to the
cost of Mr. Fenster. Now if you'll
excuse me.

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
follows.

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.

KEATON
It's a logistical nightmare. Close
quarters, no advance layout, ten
men, maybe twenty.

HOCKNEY
Can we stealth these guys?

KEATON
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
get nothing.

MCMANUS
And if we wait for the money?

KEATON
Ten more men at least. In my opinion,
it can't be done. Anyone who walks
into this won't come out alive.

MCMANUS
I'm for waiting for the money.

HOCKNEY
Me too.

VERBAL
Did you hear what he just said?

HOCKNEY
If I'm going in, I want a stake.

MCMANUS
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.

VERBAL
I just can't believe we're just gonna
walk into certain death.

PAUSE

They all suddenly realize the weight of their situation.

Finally:

MCMANUS
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.

EXT. BOATHOUSE

Behind an old and weathered boat in dry-dock, Keaton and
Verbal watch the boat from the shadows.

VERBAL
What are they speaking?

KEATON
Russian, I think. I don't know.

VERBAL
Hungarian?

KEATON
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.

EXT. BARGE

Hockney maneuvers through a mesh of twisted steel, arriving
at a vantage point near the stern of the large boat.

HOCKNEY'S P.O.V.

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
both negotiators.

Hockney sits in the van. He handles a large shoulder bag
stuffed with plastique. He tests a timer on top. He picks up
a walkie-talkie.

HOCKNEY
Are we ready, kids?

EXT. BOATHOUSE - ROOF

McManus is positioning himself on the roof of the boathouse.

He stops and grabs his radio.

MCMANUS
If I didn't have to stop and answer
you, I would be.

EXT. BOATHOUSE

KEATON
(into radio)
Everyone shut up. I'm ready. McManus,
you better be set up in ten seconds.

MCMANUS
(on radio)
I'm there.

KEATON
(to Verbal)
I want you to stay here. Understand?

VERBAL
But I'm supposed to -

KEATON
If we don't make it out, I want you
to take the money and go.

VERBAL
(confused)
Keaton, I can't just -

KEATON
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.

VERBAL
What if I -

KEATON
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.

KEATON
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.

EXT. DOCK

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
all together.

EXT. BOATHOUSE - ROOF

McMANUS'S P.O.V.

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.

MCMANUS
Pow.

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.

MCMANUS
Pow-pow-pow-pow-pow-pow. Oswald was
a fag.

EXT. DOCK

The men shout questions at Keaton in a number of languages.

EXT. BARGE

HOCKNEY'S P.O.V.

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.

EXT. BOATHOUSE

Verbal remains in the darkness, looking frightened.

EXT. BOATHOUSE - ROOF

McManus still wanders with his scope.

MCMANUS
Old McDonald had a farm, ee-aye, ee-
aye, oh. And on this farm he shot
some guys. Ba-da-bip, ba-da-bing,
bang-boom.

EXT. DOCK

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.

IT EXPLODES

The men surrounding Keaton, are distracted. Keaton pulls a
pistol out of each pocket and shoots the two men closest to
him.

EXT. BOATHOUSE - ROOF

MCMANUS
ELVIS HAS LEFT THE BUILDING.

He fires as fast as he can.

EXT. PIER

The men from the boat and the men in suits try to peg Keaton,
but McManus' sniping has them running.

INT. CRANE

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
boat.

EXT. DOCK

Hockney is firing in all directions. SUDDENLY, he realizes
no one is left on the dock.

Pause.

FINALLY, he turns and runs back for the van parked on the
pier above. He finds a ramp leading from the dock to the
pier.

At the van, he finds the one man who has stayed behind to
protect it.

The man hears Hockney coming and raises his gun. Hockney
runs straight at him, screaming frantically.

HOCKNEY
(in Spanish)
< GET THE FUCK OUT OF HERE. EVERYONE
IS DEAD.>>

BOOM

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.

INT. VAN

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.

BOOM

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.

BOOM

Another shot takes off the top of his head.

EXT. PIER

McManus runs like a wild man across the deck, heading for
the hatch.

He shoots in all directions as though he has eyes in the
back of his head. He sees Keaton climbing onto the deck of
the boat.

EXT. WAREHOUSE

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.

EXT. BOAT

Keaton finds the hatch and goes below, shooting a man on his
way up the stairs. McManus jumps on board and runs down behind
him.

EXT. PIER

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

KUJAN
Why didn't you run?

VERBAL
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.

INT. HALLWAY

Rabin and Jack Baer are in the hall. Rabin hands Kujan a
thick manila folder. Kujan thumbs through it.

BAER
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
identified him.

KUJAN
And?

RABIN
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
the proceedings.

KUJAN
Kobayashi.

Bear nods.

RABIN
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.

KUJAN
A big fucking rat.

RABIN
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.

KUJAN
Keyser Soze.

BAER
There's more.

INT. RABIN'S OFFICE - MOMENTS LATER

Kujan walks in and sits down in front of Verbal. He smiles.

KUJAN
I'll tell you what I know. Stop me
when it sounds familiar.

Verbal is confused.

KUJAN
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.

INT. CORRIDOR

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
fear.

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
panicked breathing.

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.

INT. HOLD

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.

MCMANUS
Did you hear what I heard?

KEATON
What happened to you?

MCMANUS
Keyser Soze is on the boat.

KEATON
What?

MCMANUS
I heard somebody screaming his nuts
off. He said Keyser Soze was on the
boat.

KEATON
Are you alright?

McManus rubs some of the blood off with his sleeve.

MCMANUS
Huh? Oh, It's not mine.

KEATON
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
missed it.

The two men look at one another. There is a long, pregnant
silence.

MCMANUS
Let's get the fuck out of here.

KEATON
Right behind you.

INT. CORRIDOR

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.

KEATON
Where's Hockney?

MCMANUS
I don't think he made it to the boat.

They come to a corner. They can go left or right.

KEATON
I can't remember which way.

MCMANUS
Right -

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
behind them.

INT. HALLWAY - CABIN

Jaime squints and cocks his head.

SOMEONE IS COMING. He raises a pistol and crouches by the
door.

INT. CABIN

The man in the bathrobe sits on the foot of the bed watching
the door. He hears the sounds of fighting somewhere not too
far away.

He crawls over the bed and squeezes between it and the
bulkhead. Only the top of his head is visible. He starts to
cry.

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
see him.

MAN IN ROBE
I told them nothing.

BOOM

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.

EXT. DECK

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.

MCMANUS
Strangest thing...

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
neck.

EXT. PIER

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
heard.

EXT. DECK

Keaton kneels by McManus, trembling with rage. After a moment
he stands, looking down at McManus' dead body.

EXT. PIER

SUDDENLY, Verbal realizes something. He turns and goes to
call out a warning to Keaton. He is too late.

EXT. DECK

Keaton never sees the crane coming.

WHAM

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.

EXT. PIER

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
boat.

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

KUJAN
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.

KUJAN
A man in a suit with a slim build.
Tall.

VERBAL
Wait a minute.

KUJAN
(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.

VERBAL
I - there had to be dope there.

KUJAN
Don't shine me, Verbal. No more
stalling. You know what I'm getting
at.

VERBAL
I don't.

KUJAN
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
eyes.

KUJAN
TRY TO KEEP LYING TO ME NOW. I KNOW
EVERYTHING.

VERBAL
I don't know what you're talking
about.

KUJAN
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.

VERBAL
I don't understand what you're saying.
I saw Keaton get shot, I swear to
you.

KUJAN
Then why didn't you help him?

VERBAL
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.

KUJAN
But Keaton...

VERBAL
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.

VERBAL
What if you miss?

EXT. BARGE - NIGHT - ONE WEEK PRIOR

Verbal is hiding in the tangle of girders and cables on the
barge.

VERBAL'S P.O.V.

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
distance.

BANG

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
the gangway.

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
darkness.

INT. RABIN'S OFFICE - DAY - PRESENT

KUJAN
Arturo Marquez. Ever hear of him?

VERBAL
Wha- No.

KUJAN
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
murder.

VERBAL
I never heard of him.

KUJAN
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.

VERBAL
I said I never heard of him.

KUJAN
But Keaton had. Edie Finneran was
his extradition advisor. She knew
who he was and what he knew.

VERBAL
I don't.

KUJAN
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.

VERBAL
But how - wait. You're saying Soze
sent us to kill someone?

KUJAN
I'm saying Keaton did.

Verbal cannot grasp this. He squints, trying to understand.

KUJAN
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
boat?

VERBAL
He wanted me to live.

KUJAN
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,
sir. Why?

VERBAL
Edie.

KUJAN
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?

VERBAL
Because he was my friend.

KUJAN
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
implication.

Suddenly:

VERBAL
No...

KUJAN
Keaton was Keyser Soze.

VERBAL
NO.

KUJAN
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.

VERBAL
NO, NO, NO, NO, NO.

KUJAN
THE KIND OF MAN THAT COULD HAVE KILLED
EDIE FINNERAN.

A strange look crosses Verbal's face. Shock perhaps, or
revelation.

KUJAN
They found her yesterday in a hotel
in Pennsylvania. Shot twice in the
head.

It starts to sink in with Verbal. His eyes swell.

VERBAL
Edie...

KUJAN
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.

VERBAL
This is all bullshit.

KUJAN
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.

VERBAL
I knew him. He would never -

KUJAN
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.

VERBAL
BUT WHY ME? WHY NOT HOCKNEY OR FENSTER
OR McMANUS? I'm a cripple. I'm stupid.
Why me?

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.

KUJAN
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.

KUJAN
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.

VERBAL
(sobbing)
It was all Keaton. We followed him
from the beginning.

Kujan smiles with triumphant satisfaction.

VERBAL
I didn't know. I saw him die. I
believe he's dead. Christ.

KUJAN
Why lie about everything else, then?

VERBAL
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.

KUJAN
You're not safe on your own.

VERBAL
You think he's..?

KUJAN
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
you.

VERBAL
I'm not bait. No way. I post today.

KUJAN
You posted twenty minutes ago. Captain
Leo wants you out of here a.s.a.p.,
unless you turn state's.

VERBAL
I'll take my chances, thank you.
It's tougher to buy the cheapest bag-
man than it is to buy a cop.

KUJAN
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.

VERBAL
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.

VERBAL
Fuckin' cops.

He steps out of the room and into the hall. Rabin follows
him.

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.

COP
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.

RABIN
You still don't know shit.

KUJAN
I know what I wanted to know about
Keaton.

RABIN
Which is shit.

KUJAN
No matter. He'll have to know how
close we came.

RABIN
Keyser Soze or not, if Keaton's alive
he'll never come up again.

KUJAN
I'll find him.

RABIN
Waste of time.

KUJAN
(to himself)
A rumor is not a rumor that doesn't
die.

RABIN
What?

KUJAN
Nothing. Something I - forget it.

Kujan shakes his head. He gestures to the desk.

KUJAN
Man, you're a fucking slob.

Rabin regards the mess of his office.

RABIN
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.

EXT. STREET

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
down.

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
realization.

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'S P.O.V.

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
bulletin board.

Kujan's eyes are locked on a metal plate bearing the
manufacturer's name.

It reads: QUARTET - SKOKIE, ILLINOIS Kujan's eyes flash all
over the bulletin board. He finds a picture of Rabin in the
far corner.

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
door.

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
cheap mug.

KOBAYASHI PORCELAIN.

EXT. HALLWAY

Kujan is sprinting wildly down the hall for the stairs.

EXT. STREET

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
criminal.

Verbal smiles politely, meekly at the cop and walks down the
steps into the moving throng.

INT. DEPOT

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.

KUJAN
WHERE IS HE? DID YOU SEE HIM?

COP
The Cripple? He went that way.

The cog gestures towards the door.

Kujan runs outside looking around frantically.

EXT. SIDEWALK

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
him.

INT. CAR

DRIVER'S P.O.V.

The driver's hands tap the wheel patiently. His eyes follow
Verbal as he fumbles through the crowd.

EXT. SIDEWALK

Kujan pushes and shoves, looking this way and that.

EXT. STREET

LOW ANGLE on the feet of dozens of people. Verbal's feet
emerge from the crowd on the far side. They hobble along the
curb.

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
showy.

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.

EXT. STREET

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
away.

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.

BLACK

THE END

Copyright © WeeklyScript.com | Scripts Copyright © their respective owners