The Usual Suspects
Written By
Christopher McQuarrie
Produced and Directed By
Bryan Singer
Revised, 05/25/94 White
Revised, 06/01/94 Blue
Revised, 06/07/94 Pink
Revised, 06/11/94 Yellow
SCRIPT DATE 5/25/94
1 -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.
2 EXT. BOAT - NIGHT - STERN 2'
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.
BLUE 06/01/94
2.
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.
YELLOW 06/11/94
3.
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.
YELLOW 06/11/94
4.
BOOM
3 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.
4 INT. AUTO BODY SHOP - DAY 4
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:
YELLOW 06/11/94
4A .
A row of five men silhouetted by the bright sun.
Hockney squints.
YELLOW 06/11/94
5.
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.
S 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.
6 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.
YELLOW 06/11/94
5A.
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.
BLUE 06/01/94
6.
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.
7 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.
YELLOW 06/11/94
7.
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.
8 INT. MONDINO'S RESTAURANT 8'
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.
YELLOW 06/11/94
7A.
PAN UP TO REVEAL:
SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S.
CUSTOMS. Thirtyish, dark-haired and determined.
9 SCENE DELETED
9'
PINK 06/07/94
8.
10 INT. RESTAURANT - DOWNSTAIRS 10
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)
BLUE 06/01/94
9.
KEATON (cont'd)
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.
YELLOW 06/11/94
10.
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.
11 INT. LOCK-UP HALLWAY - NIGHT 11'
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.
12 INT. LINE-UP ROOM 12
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.
SCRIPT DATE 5/25/94
11.
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.
BLUE 06/01/94
12.
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?
13 INT. INTERROGATION ROOM - NIGHT
13
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 (0.8.)
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.
BLUE 06/01/94
12A.
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?
BLUE 06/01/94
13.
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?
14 INT. INTERROGATION ROOM 14
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 (0.8.)
McManus. Be told us another story
altogether.
FENSTER t
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 s
To be honest, it was more like a +
mobile home. She made a lot of money, t
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.
BLUE 06/01/94
13A.
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
BLUE 06/01/94
14.
15 INT. INTERROGATION ROOM
15
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.
16 INT. INTERROGATION ROOM 16
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.
BLUE 06/01/94
14A.
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
YELLOW 06/11/94
15.
KEATON (cont'd)
walking around with the same face, same
name - I'm a businessman, fellas.
VOICE (O.S.)
What's that? The restaurant business? Not
anymore From now on you're in the
getting-fucked-by-us business . I'm gonna
make you famous, cocksucker.
Keaton shows just a flicker of contempt. The threat has hit
home.
KEATON
Like I said. It was all your mistake.
Charge me with it and I'll beat it. Let's
get back to the truck.
A FIST flies into the frame and connects with Keaton's jaw.
His head snaps back, blood flowing freely from his mouth.
17 DELETED 17
18 INT. CELL BLOCK 18
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.
SCRIPT DATE 5/25/94
16.
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?
SCRIPT DATE 5/25/94
17.
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?
SCRIPT DATE 5/25/94
18.
FENSTER
Fuck you. I'11 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.
YELLOW 06/11/94
19.
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.
YELLOW 06/11/94
19A.
McMANUS
You're missing the point.
YELLOW 06/11/94
20.
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.
19 EXT. PIER - DAY - SAN PEDRO - PRESENT DAY 19
It is morning in the aftermath of the opening scene.
Harsh sunlight shines on a line of body bags on the dock.
Police swarm everywhere, photographers are taking pictures of
the scene while a team of men in rolled up sleeves and
plastic gloves pick at the remains.
Two men on a fire boat operate a water cannon, dousing the
smoldering remains of a burned-out ships hull.
Watching this from the edge of the pier is a man in a dark
suit. He is SPECIAL AGENT JACK BAER of the F.B.I. He is tall
and fit, in his late thirties. He gazes out over the water
thoughtfully.
YELLOW 06/11/94
21.
A UNIFORM COP trots up to him.
COP
Who are you?
Baer holds up his badge without looking at the man.
BAER
Agent Jack Baer, F.B.I. How many dead?
Before the cop can answer, Baer turns and walks along the
line of body bags.
COP
Fifteen so far. We're still pulling some
bodies out of the water.
Baer eyes the corpses on the dock, burned beyond recognition.
COP
Looking for anyone in particular?
Baer looks at the cop for the first time, unamused.
BAER
f 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.
YELLOW 06/11/94
22.
20 MT. OCEAN
20
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.
21 INT. HEARING ROOM - DAY - LOS ANGELES PRESENT 2:
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.
YELLOW 06/11/94
22A.
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 1
One would think the counsel is veiling a
threat.
VOICE #1 +
Counsel isn't veiling anything.
VOICE #2
I'11 take my chances then. I'11 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.
YELLOW 6/11/94
22B.
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.
22 INT. POLICE STATION - HALLWAY - DAY
22
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?
RAB IN
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?
RAB IN
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
YELLOW 06/11/94
220.
RABIN (cont'd)
protected - From up on high by the prince
of fucking darkness.
KUJAN
When does he post bail?
RAB IN
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.
PINK 06/07/94
23-24.
23 INT. RABIN'S OFFICE 23
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.
RAB IN
(enunciating)
He won't go into the interrogation room.
KUJAN
Someplace else, then.
RAB IN
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.
YELLOW 06/11/94
24A.
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.
RAB ZN
He's dead.
KUJAN
Two hours. Just until he makes bail.
RAB IN
They're all dead. No matter how tough you r.
say this Keaton was, no one on that boat
could've made it out alive.
PINK 06/07/94
25-29.
24 INT. HOSPITAL - DAY 24
A door marked INTENSIVE CARE.
The door BURSTS OPEN. SUDDENLY, the hallway is a flurry of
activity.
DOCTOR LISA PLUMBER, age fifty, walks quickly beside JACK
BAER .
Baer walks with all of the determination of a battalion of
Chinese infantry.
DOCTOR RIDGLY WALTERS, a young intern in his late twenties
rushes up to them.
PLUMBER
Ridgly, this is Special Agent Jack Baer
from the F.B.I. Agent Baer, this is
Doctor Ridgly Waiters.
RIDGLY
Nice to meet you.
BAER
Is he talking?
RIDGLY
He regained consciousness less than an
hour ago. He spoke - not English - then
he lapsed.
BAER
Hungarian?
YELLOW 06/11/94
30.
RIDGLY
I don't
BAER
It was Hungarian. Most of them were
Hungarians. Any fluent Hungarians on your
staff?
RIDGLY
We have a Turkish audiologist.
Ridgly opens a door and Baer barrels through.
25 INT. HOSPITAL ROOM 25
(<< .. DENOTES LINES SPOKEN IN HUNGARIAN) +
Baer comes to an abrupt halt at the foot of a bed surrounded
by a massive tangle of medical equipment. In the center of it
all is the as yet unnamed ARKOSH KOVASH, mid-thirties. His
body is nearly mummified in bandages and plaster from waist
to chin.
BOLD IS OVERLAPPED:
KOVASH s
<<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
<<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.>>
YELLOW 06/11/94
30A.
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
<<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 . >>
BLUE 06/01/94
31.
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.
YELLOW 06/11/94
32.
2 INT. HALLWAY - POLICE STATION 26
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.
27 INT. RABIN'S OFFICE 27
Kujan and Rabin sit down across from Verbal.
YELLOW 06/11/94
34.
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.
28
28 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.
29 INT. RABIN'S OFFICE 29
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?
YELLOW 06/11/94
34A.
KUJAN
I just want to hear your story.
YELLOW 06/11/94
35.
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.?
SCRIPT DATE 5/25/94
36.
VERBAL
There's nothing in there about Ruby.
KUJAN
I'11 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'11 get right to the point. I'm smarter
than you. I'11 find out what I want to
know and I'11 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...
RAB IN
Can we get started again?
KUJAN
Now what happened after the line-up?
Verbal sneers at Kujan, unable to change the subject.
BLUE 06/01/94
37.
30 EXT. POLICE STATION - NIGHT - NEW YORK - SIX WEEKS PRIOR 30
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'11 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.
SCRIPT DATE 5/25/94
38.
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?
SCRIPT DATE 5/25/94
39.
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.
31 INT. HALLWAY - DAY 31
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.
32
32 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.
SCRIPT DATE 5/25/94
40.
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.
SCRIPT DATE 5/25/94
41.
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.
YELLOW 06/11/94
42.
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 sonofabitch? I could kill
you.
Keaton starts to shove Verbal out the door.
VERBAL
(Quickly)
They're going to hit the Taxi Service.
Keaton freezes. LONG PAUSE.
VERBAL
New York's Finest Taxi Service.
KEATON
They - That's bullshit. They don't
operate anymore.
VERBAL
McManus has a friend in the Fourteenth
Precinct. They're coming out for one job
- Thursday. They're picking up a guy
smuggling emeralds out of South America.
Fenster and McManus have a fence set to
take the stuff.
YELLOW 06/11/94
43.
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.
SCRIPT DATE 5/25/94
44.
VERBAL (cont'd)
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'11 be alright.
KEATON
Well, I'm sorry.
VERBAL
Forget it.
(Beat)
I'11 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.
SCRIPT DATE 5/25/94
45.
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.
33 EXT. KENNEDY AIRPORT - DAY 33
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.
BLUE 06/01/94
46.
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.
34 INT. POLICE CAR 34
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.
35 EXT. HIGHWAY 35
The cruiser heads towards the heart of Manhattan.
YELLOW 06/11/94
47.
36 EXT. STREET - LATER
36
The police car makes its way down a wide, abandoned street. A
WHITE MINIVAN pulls out behind it and heads the same way.
37 INT. POLICE CAR
37
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.
38 EXT. STREET 38
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
SCRIPT DATE 5/25/94
48.
'He stands on the front of the roof and swings the hammer
down.
39 INT. POLICE CAR
39
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.
40 INT. FRONT VAN
40
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.
41 INT. POLICE CAR 41
McMANUS
The money.
Strausz looks at Rizzi.
McMAMJS (CONT'D)
THE MONEY. LET'S HAVE IT.
Rizzi hands the money through the remains of the windshield.
YELLOW 06/11/94
49.
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.
42 EXT. STREET - LATER 42
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.
YELLOW 06/11/94
50.
43 INT. GARAGE - NIGHT
43
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.
YELLOW 06/11/94
51.
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.
44 SCENE DELETED 44'
45 INT. WAITING ROOM - LAW OFFICE - DAY 45'
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.
YELLOW 06/11/94
51a.
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.
YELLOW 06/11/94
52.
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.
46
46 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.
47 INT. RABIN'S OFFICE -DAY - LOS ANGELES - PRESENT 47
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
PINK 06/07/94
53.
KUJAN (cont'd)
better? That job had his name all over
it.
VERBAL
You keep trying to lay this whole ride on t
Keaton. It wasn't like that. Sure he
knew, but Edie had him all turned around. r
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 t
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? r
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.
PINK 06/07/94
53A.
48
48 SCENE DELETED
49 SCENE DELETED/DIALOGUE MOVED - BOTTOM SCENE 47 49
PINK 06/07/94
54.
50 INT. WORKSHOP 50
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.
51 INT. RABIN'S OFFICE 51
KUJAN (CONT'D)
He was dead just long enough for a murder
rap to blow over, then he had lunch.
SCRIPT DATE 5/25/94
55.
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,
YELLOW 06/11/94
56.
KUJAN (cont'd)
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.
52 SCENE DELETED 52
53 INT. HOSPITAL - DAY 53
(<< >> DENOTES LINES SPOKEN IN HUNGARIAN) +
Kovash's room is now filled with people. Jack Baer stands
next to DANIEL METZHEISER, a balding man in his forties. Next
to him is Doctor Plumber. Across from her is Ridgly 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.
YELLOW 06/11/94
57.
PLUMBER
Agent Beer, this is getting out of hand.
BAER
I'11 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
<<My name is Bodi. How are you'>>
Kovash smiles with relief when he hears his own language.
KOVASH
<<How am 17 You are as stupid as that
one, but at least I can talk to you.>>
BODI
<<You'll be alright. He is from the
F.B.I. He is here to help you. He wants
to know what happened in the harbor.>>
KOVASH
<<We were there to buy a man and take him
back to Hungary.>>
YELLOW 06/11/94
57A.
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 +
<<You don't understand me either? God
help me, they are all idiots. s
(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
<<I'll tell you everything. I'11 even say
it slow enough for you to understand it.
Just tell this man I want protection.
Real protection.>>
YELLOW 06/11/94
58.
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
<<He says that is fine.>>
KOVASH
<<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'11 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
<<Who is this Devil you keep talking
about?>>
KOVASH
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
YELLOW 06/11/94
58A.
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
<<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.
YELLOW 06/11/94
59.
METZHEISER
Ask him what this Devil looks like.
BAER
(To Tracy)
Ready?
Tracy holds up her pad and pencil. She nods.
54 EXT. LOS ANGELES SKYLINE - DAY - FIVE WEEKS PRIOR
54
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.
55 EXT. FRIENDSHIP BELL - NIGHT 55'
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.
SCRIPT DATE 5/25/94
60.
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?
SCRIPT DATE 5/25/94
61.
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'11 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?
SCRIPT DATE 5/25/94
62.
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.
YELLOW 06/11/94
63.
56
56 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.
57 INT. VAN 57
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.
58 INT. PARKING GARAGE 58
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.
YELLOW 06/11/94
64.
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.
YELLOW 06/11/94
65.
KEATON
Give me the case.
Saul reaches over for the case. Keaton trains the gun on him.
SUDDENLY, Saul comes up with a pistol and points it at
Keaton. Keaton sidesteps and grabs his wrist. The gun goes
off into the fender of the Honda.
Hockney and Fenster both look over at the sound of the gun.
Tucci and Higham seize the opportunity. Tucci grabs Hockney,
Higham grabs Fenster. The four men grapple for the guns.
Fenster's gun falls to the floor. McManus picks it up. He
trains a pistol on each bodyguard and takes a breath. They
are some ten feet apart and moving erratically. Hockney and
Fenster constantly fall in the line of fire.
McManus walks around the four men, keeping a pistol trained
on each of the guards. Finally he comes to an angle where
they are all in front of him. One guard is a few feet away,
the other is ten feet past him.
McMANUS' P.O.V.
The closer of the two moves in and out of the sights of the
pistol in McManus' right hand, the one farther away does the
same with the left.
Verbal gets out of the van and moves towards them to help.
BOOM
Both of McManus' guns go off like one shot. Tucci and Higham
collapse, each with a bullet in his head
PAUSE
The only sound is Saul grappling with Keaton for the gun. His
arm is halfway out the window. His elbow rests in the door
frame.
Keaton cannot get the gun out of his hand. Finally, he pushes
down with all his weight. Saul's elbow breaks backwards on
the door frame. He screams in agony. The gun falls from his
hand.
BLUE 06/01/94
66.
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.
59 INT. VAN 59
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.
60 EXT. PARKING LOT - NIGHT 60
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?
YELLOW 06/11/94
67.
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.
YELLOW 06/11/94
68.
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.