[1996][유주얼 서스펙트] The Usual Suspects

[수다쟁이]

[유주얼 서스펙트] The Usual Suspects

THE USUAL SUSPECTS

Screenplay by    Christopher McQuarrie

Produced by    Michael McDonnell
     Bryan Singer

Directed by    Bryan Singer

Cast List:

Stephen Baldwin  McManus
Gabriel Byrne   Keaton
Chazz Palminteri  Dave Kujan
Kevin Pollak   Hockney
Pete Postlethwaite  Kobayashi
Kevin Spacey   Verbal
Suzy Amis   Edie Finneran
Benicio del Toro   Fenster

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 un-lit 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, Merging 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 (CONT'D)
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 (CONT'D)
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.t

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, f 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-cock-sucker.

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 pries 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.

VERBAL (V.O.)
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. Be 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.)
Be fold 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 (CONT'D)
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 (CONT'D)
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, cock-sucker.

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 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 line-up? 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, pretzel-man? 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 (CONT'D)
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 FBI 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, FBI 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 (CONT'D)
(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 bitch-slapped 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 (CONT'D)
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 (CONT'D)
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 your. 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 FBI 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 know.

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

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
(in Hungarian)
Are you the police? I need the 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
(in Hungarian)
Find someone who understands me, 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
(in Hungarian)
Why are you just standing there, 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 io
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 (CONT'D)
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 (VOICE)
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 seams. 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 (CONT'D)
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 (CONT'D)
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 (CONT'D)
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 (CONT'D)
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 (CONT'D)
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 (CONT'D)
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 (CONT'D)
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 m 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 (CONT'D)
Don't hurt me.

KEATON
(seething)
Hurt you, you son-of-a-bitch? 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 (CONT'D)
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 (CONT'D)
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
seam 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.

ERBAL
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.

MCMAMUS (CONT'D)
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 db 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 (CONT'D)
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 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 (CONT'D)
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 (CONT'D)
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 (CONT'D)
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

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 Waiters.

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
(in Hungarian)
My name is Bodi. How are you?

Kovash smiles with relief when he hears his own language.

KOVASH
(in Hungarian)
How am I? You are as stupid as that one, but at least I can
talk to you.

BODI
(in Hungarian)
You'll be alright. He is from the FBI He is here to help
you. He wants to know what happened in the harbor.

KOVASH
(in Hungarian)
We were there to buy a man and 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
(in Hungarian)
You don't understand me either? 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 knob
what they were buying. But not dope... people.

KOVASH
(in Hungarian)
I'll tell you everything. I'll 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
(in Hungarian)
He says that is fine.

KOVASH
(in Hungarian)
No, no, no. I need a guarantee 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
(in Hungarian)
Who is this Devil you keep talking about?

KOVASH
(in Hungarian)
Keyser Soze He was in the harbor 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

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
(in Hungarian)
Keyser Soze. Keyser Sate. I've 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 (CONT'D)
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 (CONT'D)
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 slim-jim out
of his jacket and pops the lock an 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 (CONT'D)
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 (CONT'D)
... 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 (CONT'D)
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' POV

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'11 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 (CONT'D)
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.?

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 (CONT'D)
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 Sate.

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. Sate 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 (CONT'D)
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 (CONT'D)
?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. Sate using pawns who had no
knowledge.
(turning to Verbal)
Which brings us to Mr. Kint.

Verbal crumbles under his stare.

KOBAYASHI (CONT'D)
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 rarelyt 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 Sate.

INT. SOZE'S HOME ?LATER

The front door opens and in walks Keyser Sate. We are never allowed to see his face.

Sate'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.

Sate 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 Sate 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 Sate 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 d
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.

 BODI
(in Hungarian)
What sort of nose did he have?

KOVASH
(in Hungarian)
It was smaller than that. Sharper.

BODI
(to Tracy)
The nose is sharper. Smaller too.
(to Arkosh in Hungarian)
And what about the hair? You said something earlier about
it.

KOVASH
(in Hungarian)
It is longer than that. And not so dark.

 BODI
(in Hungarian)
Are you sure?

KOVASH
(in Hungarian)
Don't be stupid.

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, middle-men. 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.

MCMAMUS
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.

EXT. 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 Sate. 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 (CONT'D)
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, oak-lined 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 (CONT'D)
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 POV

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 (CONT'D)
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 POV

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 (CONT'D)
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 POV

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.

INT. 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)
DON'T SHOOT, DON'T SHOOT. LET'S 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 FBI 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 fared 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 (CONT'D)
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.

A 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 TAU, 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 (CONT'D)
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 (CONT'D)
TRY TO REEF 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 (CONT'D)
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 POV

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 Sate 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 Sate 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 (CONT'D)
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 (CONT'D)
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 (CONT'D)
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 (CONT'D)
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 Sate 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 (CONT'D)
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 Sate 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 (CONT'D)
Man, you're a fucking slob.

Rabin regards the mess of his office.

RABIN
Yeah. It's got it's 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 POV

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 POV

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 leaks 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

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