35891de62bab83d5b312ddeb835c7e0b245e3282
movie
http://www.imsdb.com/scripts/Usual-Suspects%2C-The.html
The Usual Suspects
work . BLACK
 The film opens with criminal Dean Keaton lying badly wounded on a ship docked in the San Pedro Bay. He is confronted by a mysterious figure whom he calls "Keyser", who shoots him dead and sets fire to the ship,
The bloodbath on the ship leaves only two survivors: Arkosh Kovash, a Hungarian mobster hospitalized with severe burns; and Roger "Verbal" Kint, a con artist with cerebral palsy. Customs agent Dave Kujan flies in from New York City to interrogate Verbal, who describes in flashback the events that led him and four other criminals - Keaton, Michael McManus, Fred Fenster and Todd Hockney - onto the ship.
Verbal explains that, six weeks earlier in New York, he and the other criminals were arrested on supposedly a trumped-up hijacking charge, and decided to pull another heist to get back at the police. Led by Keaton, a former corrupt policeman, they robbed a group of corrupt cops who transported smugglers in a police convoy. They then went to California to fence the stolen jewels with a criminal named Redfoot. Redfoot turned them on to another jewel heist, but the quarry turned out to be heroin, and the five had to shoot their way out. Soon after, a lawyer named Kobayashi contacted them and told them that Keyser Söze, a Turkish crime lord with a mythical reputation from whom all of the thieves had unwittingly stolen (including Hockney who hijacked the original truck six weeks earlier in New York), had offered them a job: invade a ship manned by a gang of Argentinian drug dealers with whom Söze was competing and destroy the $91 million worth of cocaine that they were transporting.
When Kujan learns of Söze from FBI agent Jack Baer, he questions Verbal about him. Verbal tells Kujan an underworld legend about Söze: that he had murdered his own family after they had been attacked by a gang of Hungarian criminals, and then massacred the Hungarians and everyone they held dear. He then went underground, never to be seen again, and did business only through underlings who did not know for whom they were working. He became a fearsome urban legend, "a spook story that criminals tell their kids at night".
Verbal goes on to explain that, after Fenster had bailed on the group, Kobayashi gave them a location at which to find their compatriot's dead body. They tried to kill Kobayashi, but he strong-armed them into performing the heist by threatening their loved ones. They staked out the ship and killed several Argentinian and Hungarian gangsters, but found no drugs on board. McManus, Hockney and a man locked aboard the ship were killed by an unseen person, who also killed Keaton and set the ship on fire as Verbal looked on.
Verbal concludes his story, but Kujan does not believe it. He insists that Keaton must be Söze, as one of the murder victims on the boat was Arturo Marquez, a drug dealer who escaped prosecution by claiming he could identify Söze — and who was represented by Edie Finneran, Keaton's lawyer and girlfriend. Kujan claims that the Argentinians were selling Marquez to Söze's Hungarian rivals and Keaton used the heist as a distraction to let him kill Marquez. Kujan also informs Verbal that Finneran has been murdered. Verbal says that the entire plan was Keaton's idea, but refuses to testify in court. Verbal's bond is posted and he is released.
Moments later, Kujan realizes that Verbal's entire story was a lie, pieced together from details on a crowded bulletin board in his office. Meanwhile, Verbal walks outside, gradually dropping his limp and flexing his supposedly withered hand. As Kujan runs after Verbal, a fax comes in from California: a police sketch artist's rendering of Söze, dictated by Kovash, that looks exactly like Verbal. Kujan misses Verbal by moments, as the latter disappears into a car driven by "Kobayashi".
The film opens with criminal Dean Keaton lying badly wounded on a ship docked in the San Pedro Bay . He is confronted by a mysterious figure whom he calls Keyser , who shoots him dead and sets fire to the ship , The bloodbath on the ship leaves only two survivors : Arkosh Kovash , a Hungarian mobster hospitalized with severe burns ; and Roger Verbal Kint , a con artist with cerebral palsy . Customs agent Dave Kujan flies in from New York City to interrogate Verbal , who describes in flashback the events that led him and four other criminals - Keaton , Michael McManus , Fred Fenster and Todd Hockney - onto the ship . Verbal explains that , six weeks earlier in New York , he and the other criminals were arrested on supposedly a trumped-up hijacking charge , and decided to pull another heist to get back at the police . Led by Keaton , a former corrupt policeman , they robbed a group of corrupt cops who transported smugglers in a police convoy . They then went to California to fence the stolen jewels with a criminal named Redfoot . Redfoot turned them on to another jewel heist , but the quarry turned out to be heroin , and the five had to shoot their way out . Soon after , a lawyer named Kobayashi contacted them and told them that Keyser Söze , a Turkish crime lord with a mythical reputation from whom all of the thieves had unwittingly stolen ( including Hockney who hijacked the original truck six weeks earlier in New York ) , had offered them a job : invade a ship manned by a gang of Argentinian drug dealers with whom Söze was competing and destroy the $ 91 million worth of cocaine that they were transporting . When Kujan learns of Söze from FBI agent Jack Baer , he questions Verbal about him . Verbal tells Kujan an underworld legend about Söze : that he had murdered his own family after they had been attacked by a gang of Hungarian criminals , and then massacred the Hungarians and everyone they held dear . He then went underground , never to be seen again , and did business only through underlings who did not know for whom they were working . He became a fearsome urban legend , a spook story that criminals tell their kids at night . Verbal goes on to explain that , after Fenster had bailed on the group , Kobayashi gave them a location at which to find their compatriot s dead body . They tried to kill Kobayashi , but he strong-armed them into performing the heist by threatening their loved ones . They staked out the ship and killed several Argentinian and Hungarian gangsters , but found no drugs on board . McManus , Hockney and a man locked aboard the ship were killed by an unseen person , who also killed Keaton and set the ship on fire as Verbal looked on . Verbal concludes his story , but Kujan does not believe it . He insists that Keaton must be Söze , as one of the murder victims on the boat was Arturo Marquez , a drug dealer who escaped prosecution by claiming he could identify Söze — and who was represented by Edie Finneran , Keaton s lawyer and girlfriend . Kujan claims that the Argentinians were selling Marquez to Söze s Hungarian rivals and Keaton used the heist as a distraction to let him kill Marquez . Kujan also informs Verbal that Finneran has been murdered . Verbal says that the entire plan was Keaton s idea , but refuses to testify in court . Verbal s bond is posted and he is released . Moments later , Kujan realizes that Verbal s entire story was a lie , pieced together from details on a crowded bulletin board in his office . Meanwhile , Verbal walks outside , gradually dropping his limp and flexing his supposedly withered hand . As Kujan runs after Verbal , a fax comes in from California : a police sketch artist s rendering of Söze , dictated by Kovash , that looks exactly like Verbal . Kujan misses Verbal by moments , as the latter disappears into a car driven by Kobayashi .
http://en.wikipedia.org/wiki/The_Usual_Suspects
The Usual Suspects
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</b>
<TITLE>The Usual Suspects</TITLE>


<b></HEAD>
</b><pre>
The Usual Suspects

Written By Christopher McQuarrie


Produced and Directed By Bryan Singer


Revised, 05/25/94 White<BR>
Revised, 06/01/94 Blue<BR>
Revised, 06/07/94 Pink<BR>
Revised, 06/11/94 Yellow<BR>



<b>SCRIPT DATE 5/25/94
</b>

<b>1 -BLACK
</b>
     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.                                                       

<b>2     EXT. BOAT - NIGHT - STERN                                             2'
</b>
     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.

<b>                                            BLUE 06/01/94
</b>
<b>                                                               2.
</b>
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.

<b>                         VOICE (O.S.)
</b>           How are you, Keaton?

<b>                             KEATON
</b>           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.

<b>                         VOICE (O.S.)
</b>           Ready?

<b>                             KEATON
</b>           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.

<b>                         VOICE (O.S.)
</b>           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.

<b>GUNSHOT
</b>
The sound of Keaton's body slumping onto the deck.

<b>                                          YELLOW 06/11/94
</b>

<b>                                                             3.
</b>
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.

<b>A BARGE COMES INTO VIEW.                                             
</b>
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.                                                    

<b>MOVE INTO THE DARKNESS.
</b>
Sirens are close now. Almost here. The sound of fire raging
out of control.

<b>SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET
</b><b>POUNDING THE PAVEMENT.
</b>
<b>MOVE FURTHER, SLOWER, INTO THE DARKNESS
</b>
Voices yelling. New light flickering in the surrounding
darkness.

<b>SUDDENLY, AN EXPLOSION.
</b>
Then silence. TOTAL BLACKNESS.

We hear the voice of ROGER &quot;VERBAL&quot; KINT, whom we will soon
meet.

<b>                         VERBAL (V.O.)
</b>           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.


<b>                                                YELLOW 06/11/94
</b><b>                                                                   4.
</b><b>      BOOM
</b><b>3     INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIOR TO
</b><b>      PRESENT DAY
</b>
      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.

<b>                                   VOICES
</b><b>                 POLICE. SEARCH WARRANT. DON'T MOVE.
</b>
      It is a blur of violent action and sound.'Beams of
      flashlights cut the darkness in all directions.

<b>      FINALLY:
</b>
      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.

<b>                               VOICE (O.S.)
</b>                 Mr. McManus?

                                  McMANUS
                 Yeah.

<b>                               VOICE (O.S.)
</b>                 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.

<b>4     INT. AUTO BODY SHOP - DAY                                            4 
</b>      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:
<b>                                                   YELLOW 06/11/94
</b><b>                                                                     4A .
</b>        A row of five men silhouetted by the bright sun.
        Hockney squints.


<b>                                                YELLOW 06/11/94
</b>

<b>                                                                   5.
</b>
<b>                                  HOCKNEY
</b>                 Can I help you?

      Hockney's voice is gruff.

<b>                                    MAN
</b>                 Todd Hockney'

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

<b>                                  HOCKNEY
</b>                 Who are you?

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

<b>                                    MAN  
</b>                 Police.

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

<b>                                  HOCKNEY
</b>                 We don't do gun repair.

<b>S     EXT. STREET - NEW YORK - DAY
</b>
      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.

<b>6     INT. MONDINO'S RESTAURANT - DAY
</b>
      An attractive man and woman walk quickly through the front of
      a small New York cafe. They are charged with nervous, excited
      energy.

<b>                                          YELLOW 06/11/94
</b>

<b>                                                             5A.
</b>
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.

<b>                                                 BLUE 06/01/94
</b>

<b>                                                                     6.
</b>
     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.

<b>                                  EDIE
</b>                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.

<b>                              EDIE (CONT'D)
</b>                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.

<b>                                 KEATON
</b>                I'm having a stroke.

<b>                                   EDIE
</b>                You've come far. You're a good man. I
                love you.

     Keaton blinks then stammers, looking for a response.
<b>     PAUSE
</b><b>                              EDIE (CONT'D)
</b>                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.

<b>7     INT. RESTAURANT - DOWNSTAIRS
</b>
     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.

<b>                                                YELLOW 06/11/94
</b>

<b>                                                                   7.
</b>

<b>                                  FORTIER
</b>                 Edie, nice to see you.

<b>                                   EDIE
</b>                 Sorry we're late.

<b>                                  FORTIER
</b>                 Nonsense. Sit, please.

<b>                                  RENAULT
</b>                         (struggling with English)
                 You must be Mr. Keaton.

<b>                                   EDIE
</b>                 I'm sorry. Dean Keaton

     Renault's hand is already out.

<b>                                  RENAULT
</b>                 Monsieur Renault. A pleasure.

<b>                                  KEATON
</b>                 How do you do?

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

<b>                                  FORTIER
</b>                 Monsieur Fortier. So nice to finally meet
                 you.

     Everyone sits at the table. All faces are smiling.
<b>     LOW ANGLE: UNDER TABLE
</b>     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.

<b>8     INT. MONDINO'S RESTAURANT                                            8'
</b>     Follow a waiter past the flight of steps.
<b>     PAN DOWN TO REVEAL:
</b>
     Five sets of feet arriving at the bottom.

     The feet in the middle wear shoes notably nicer than the
     rest.

<b>                                               YELLOW 06/11/94
</b><b>                                                                  7A.
</b><b>     PAN UP TO REVEAL:
</b>     SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S.
     CUSTOMS. Thirtyish, dark-haired and determined.

<b>9 SCENE DELETED
</b><b>                                                                             9'
</b>
<b>                                                 PINK 06/07/94
</b>
<b>                                                                      8.
</b>
<b>10 INT. RESTAURANT - DOWNSTAIRS                                        10
</b><b>                                 FORTIER
</b>                Edie brought us your proposal and I'll be                  


                honest. We're very impressed. A bit                       
                skeptical, I must admit, but impressed.                    


<b>                                 KEATON
</b>                Skeptical.
<b>                                 RENAULT
</b>                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.
<b>                                 KEATON
</b>                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.

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


<b>                                 KEATON
</b>                Let's say for example -

<b>                              VOICE (O.S.)
</b>                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.

<b>                                 KEATON
</b>                Dave. I'm in a meeting.

<b>                                  KUJAN
</b>                Time for another one.

<b>                                   KEATON
</b>                 This is my attorney, Edie Finneran.
                                (Gesturing)

<b>                                            BLUE 06/01/94
</b>

<b>                                                                9.
</b>                        KEATON (cont'd)
           This is Mr. Renault and Mr. Fortier.
           Everyone, this is David Kujan.

<b>                             KUJAN
</b>           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.

<b>                            RENAULT
</b>           Is there a problem, Mr. Keaton?

<b>                             KUJAN
</b>           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.

<b>                            FORTIER
</b>           Mr. Keaton?

<b>                             KEATON
</b>           If you will excuse us for a moment,
           gentlemen.

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

Renault starts to get up.

<b>                            RENAULT
</b>           We should leave you to discuss whatever
           this is.

<b>                            KEATON
</b>           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.

<b>                            KEATON
</b>           Enjoy the meal.
                           (To Edie)
           I'LL call you.

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

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   10.
</b>
      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.

<b>11    INT. LOCK-UP HALLWAY - NIGHT                                        11'
</b>
      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.

<b>      CRANE UP TO REVEAL:
</b>
      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.

<b>                              VERBAL (V.O.)
</b>                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.

<b>12    INT. LINE-UP ROOM                                                   12
</b>
      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.

<b>                                               SCRIPT DATE 5/25/94
</b>
<b>                                                                11.
</b>
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?

<b>                         VOICE (O.S.)
</b>           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.

<b>                         VOICE (O.S.)
</b>           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.

<b>                            HOCKNEY
</b>           Hand-me-the-keys, you-fucking-cock-
           sucker.

<b>                         VOICE (O.S.)
</b>           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

<b>                         VOICE (O.S.)
</b>           KNOCK IT OFF. Get back in line.

McManus steps back.

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

<b>                                                 BLUE 06/01/94
</b>

<b>                                                                     12.
</b>
<b>                              VERBAL (V.O.)
</b>                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?

<b>13 INT. INTERROGATION ROOM - NIGHT
</b><b>                                                                           13
</b>
     McManus sits in a chair in front of a white wall. He smiles
     at someone off-screen.

<b>     OVERLAPPED:
</b>

<b>                                MCMANUS  
</b>                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,

<b>                             VOICE (O.S.)                                 
</b>                Are you done?                                            

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

<b>                             VOICE (0.8.)                                 
</b>                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.                                

<b>                              VERBAL (V.O.)
</b>                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.

<b>                                 BLUE 06/01/94
</b>

<b>                                                    12A.
</b>
<b>                              VERBAL (V.O.)
</b>                They went after McManus first. He was a
                good guy. Crazy though. A top notch entry
                man .

<b>                              VOICE (O.S.)
</b>                So where'd you dump the truck?

                              McMANUS
                What truck?

<b>                              VOICE (O.S.)
</b>                The truck with the guns, fucko.

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

<b>                 			  VOICE (O.S.)
</b>                Right here. Suck it out.

                   			   McMANUS
                Clever guy.

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

<b>                                                 BLUE 06/01/94
</b>
<b>                                                                     13.
</b>

                                 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.

<b>                              VOICE (O.S.)
</b><b>                WHERE'S THE FUCKING TRUCK?
</b>
<b>14 INT. INTERROGATION ROOM                                             14
</b>     Now Fenster is in the seat. He sweats profusely.
<b>                                 FENSTER
</b>                I want to call my lawyer. I don;'t know                    
                about any truck. I was in Connecticut all
                night on Friday.

<b>                              VOICE (O.S.)
</b>                That's not what McManus said.

<b>     OVERLAPPED:
</b>
<b>                                FENSTER                                     
</b>                Who?                                                        

<b>                             VOICE (0.8.)                                   
</b>                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.                               

<b>                              VOICE (O.S.)
</b>                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

<b>                             VOICE (O.S.)                                  +
</b>                Who took the guns off your hands?                           

<b>                                 FENSTER
</b>                Hey, are we talking about the same
                thing?

<b>                             VOICE (O.S.)                                   
</b>                I'm losing my patience.                                     


<b>                                            BLUE 06/01/94
</b>

<b>                                                                13A.
</b>
<b>                         VERBAL (V.O.)
</b>           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.
<b>                            FENSTER
</b>           You guys got nothing on me. Where's your
           probable cause?

<b>                         VOICE (O.S.)
</b>           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.


<b>                            FENSTER
</b>           HELLO? Can you hear me in the back? P.C.

He looks under his chair.

<b>                       FENSTER (CONT'D)
</b>           Where is it? I'm lookin'. It's not
           happening. What's going on with that? I
           want

<b>                                                  BLUE 06/01/94
</b>

<b>                                                                     14.
</b>
<b>15 INT. INTERROGATION ROOM
</b><b>                                                                            15
</b>

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

<b>                                  HOCKNEY
</b>                 - my lawyer. I'll have your badge,
                 cocksucker.

<b>     OVERLAPPED:  
</b>

<b>                            HOCKNEY (CONT'D)
</b>                 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.

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

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

<b>                                  HOCKNEY
</b>                 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?

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

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

<b>16 INT. INTERROGATION ROOM                                              16
</b>     Now Keaton sits in the chair, cool and indifferent.
<b>                              VERBAL (V.O.)
</b>                 Keaton was the real prize for them, for
                 obvious reasons.

<b>                               VOICE (O.S.)
</b>                 I'll charge you when I'm ready.

<b>                                 BLUE 06/01/94
</b>
<b>                                                    14A.
</b>
<b>                                KEATON
</b>                with what?

<b>                           	    VOICE (O.S.)
</b>                You know damn well, dead-man.

<b>                                KEATON
</b>                Hey, that was your mistake, not mine. Did
                you ever think to ask me? I've been

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   15.
</b>                             KEATON (cont'd)
                walking around with the same face, same
                name - I'm a businessman, fellas.

<b>                               VOICE (O.S.)
</b>                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.

<b>                                  KEATON
</b>                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.

<b>17   DELETED                                                              17
</b><b>18   INT. CELL BLOCK                                                      18
</b>     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.

<b>                                  FENSTER
</b>                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.

<b>                                  HOCKNEY
</b>                These guys got no probable cause.






<b>                                              SCRIPT DATE 5/25/94
</b>

<b>                                                                16.
</b>
<b>                            FENSTER  
</b>           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.

<b>                            HOCKNEY
</b>           You are a criminal.

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

<b>                            KEATON
</b>           Then make it. Christ, you're making me
           tired all over.

McManus looks at Keaton.


                            McMANUS
           I heard you were dead, Keaton.                              

<b>                            KEATON
</b>           You heard right.

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

                            McMANUS  
           What's this?

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

                            McMANUS  
           Who?  

<b>                            HOCKNEY
</b>           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 &quot;retainer&quot; you giving
        her?

<b>     
</b><b>                                              SCRIPT DATE 5/25/94
</b>
<b>                                                               17.
</b>Keaton shoots McManus a fiery glare.
<b>                            FENSTER
</b>           I'd say you've gotten on his main and
           central nerve, McManus.

<b>                            KEATON
</b>           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?

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

<b>                            KEATON
</b>                      (Ignoring McManus)
           This whole thing was a shakedown.

                            McMANUS
           What makes you say that?

<b>                            KEATON
</b>           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.

<b>                            FENSTER
</b>           So why the hell was I hauled in and
           cavity searched tonight?

<b>                            KEATON
</b>           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.

<b>                            FENSTER
</b>           I had a guy's fingers in my asshole
           tonight.

<b>         HOCKNEY
</b>        Is it Friday already?
<b>                                              SCRIPT DATE 5/25/94
</b>

<b>                                                                18.
</b>
<b>                            FENSTER
</b>           Fuck you. I'11 never shit right again. So
           who did it? Own up.

<b>                            KEATON
</b>           I don't want to know.

                            McMANUS  
           Nobody asked you, workin'-man.

<b>                            HOCKNEY
</b>           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.

<b>                             KEATON
</b>           He's alright.

<b>                            HOCKNEY
</b>           How do I know that? How about it,
           pretzel-man? What's your story?

<b>                            KEATON
</b>           His name is Verbal Kint. I thought you
           guys knew him.

                            McMANUS
           Verbal?

<b>                            VERBAL
</b>           Roger really. People say I talk too much.

<b>                            HOCKNEY
</b>           Yeah, I was gonna tell you to shut up.

<b>                            KEATON
</b>           We've met once or twice. Last time was
           in...

<b>                             VERBAL
</b>           County. I was in for fraud.

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

<b>                            VERBAL
</b>        I walked. Ninety days, suspended.


<b>                                           YELLOW 06/11/94
</b>

<b>                                                               19.
</b>
<b>                             HOCKNEY
</b>            So you did it?


<b>                             VERBAL
</b>            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.

<b>                              KEATON
</b>                          (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 -

<b>                              KEATON
</b>            Why don't you just calm down'

<b>                             HOCKNEY
</b>            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.


<b>                            VERBAL
</b>           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.

<b>                              KEATON
</b>           I'm not kidding. Shut your mouth.

<b>                              YELLOW 06/11/94
</b>
<b>                                                  19A.
</b>
                 McMANUS
You're missing the point.

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   20.
</b>
<b>                                  KEATON
</b>                 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
                 &quot;job&quot;. 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.

<b>                              VERBAL (V.O.)
</b>                 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.

<b>19    EXT. PIER - DAY - SAN PEDRO - PRESENT DAY                          19
</b>     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.

<b>                                          YELLOW 06/11/94
</b><b>                                                             21.
</b>A UNIFORM COP trots up to him.
<b>                              COP
</b>           Who are you?


Baer holds up his badge without looking at the man.

<b>                              BAER
</b>           Agent Jack Baer, F.B.I. How many dead?

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

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

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

<b>                              COP
</b>           Looking for anyone in particular?

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

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

<b>                              COP
</b>           I have to clear the scene. I've got word
           direct from the Chief

Baer lights a cigarette, only half listening.

<b>                              BAER
</b>                         (Unimpressed)
           Yes, the chief. Spooky stuff. Any
           survivors?

<b>                              COP
</b>           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 -

<b>                              BAER
</b>           Excuse me.

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

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   22.
</b>
<b>20 MT. OCEAN
</b><b>                                                                            20
</b>
     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.

<b>21    INT. HEARING ROOM - DAY - LOS ANGELES PRESENT                      2: 
</b>
     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.

<b>                             VOICE #1 (O.S.)
</b>                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.

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

<b>                                 VOICE #1
</b>                No provisions, nothing. My clients
                testimony for his immunity.

<b>                                 VOICE #2
</b>                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.

<b>                                VOICE #1
</b>                Immunity.

<b>                                          YELLOW 06/11/94
</b>

<b>                                                              22A.
</b>
<b>                           VOICE #2                                      
</b>           Counselor, I will prosecute your client.

<b>                            VOICE #1
</b>           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
           &quot;faceless people in City Hall&quot; you
           mention.

<b>                            VOICE #2 1
</b>           One would think the counsel is veiling a
           threat.                                                       

<b>                           VOICE #1                                     +
</b>           Counsel isn't veiling anything.

<b>                            VOICE #2
</b>           I'11 take my chances then. I'11 feel
           safer without a job if a man like Mr.
           Kint is behind bars.

<b>                           VOICE #1                                      
</b>           Mr. Kint will plead guilty to weapons
           possession.

<b>                            VOICE #2
</b>           You're joking.

<b>                            VOICE #1                                     
</b>           Weapons. Misdemeanor one.

<b>                           VOICE #2                                      
</b>           Counselor, you're insulting me.

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

Voices mumble off screen. Verbal fidgets in his chair.

<b>                           VOICE #2                                     +
</b>           Misdemeanor one. Fine. This is
           ludicrous.  

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

<b>                                                YELLOW 6/11/94
</b>

<b>                                                                   22B.
</b>
<b>                            VOICE #2 (CONT'D)
</b>                            (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.

<b>22 INT. POLICE STATION - HALLWAY - DAY
</b><b>                                                                            22
</b>
     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.

<b>                                  KUJAN
</b>                What do you mean I can't see him?

<b>                                  RAB IN
</b>                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.

<b>                                  KUJAN
</b>                Did they charge him with anything?


<b>                                  RAB IN
</b>                Weapons. Misdemeanor two.

<b>                                  KUJAN
</b>                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.

<b>                                  RABIN
</b>                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

<b>                                          YELLOW 06/11/94
</b>

<b>                                                             220.
</b>                        RABIN (cont'd)
           protected - From up on high by the prince
           of fucking darkness.


<b>                             KUJAN
</b>           When does he post bail?

<b>                             RAB IN
</b>           Two hours, tops.

<b>                             KUJAN
</b>           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.

<b>                                                 PINK 06/07/94
</b><b>                                                                      23-24.
</b><b>23 INT. RABIN'S OFFICE                                                  23 
</b><b>                                  RABIN                                 +
</b>                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.                 

<b>                             RABIN (CONT'D)                              
</b>                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                            

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

<b>                                   RAB IN
</b>                              (enunciating)                              
                He won't go into the interrogation room.                 

<b>                                  KUJAN
</b>                Someplace else, then.

<b>                                  RAB IN
</b>                Where?

     Kujan looks around Rabin's messy office.                            

<b>                             RABIN (CONT'D)
</b>                No, no, no, no, no.

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

<b>                                   RABIN
</b>                And I am sure you have a host of wild                   +
                theories to answer these questions.                      

<b>                                   KUJAN
</b>                You know damn well what I think.                         

<b>                               YELLOW 06/11/94
</b>

<b>                                                  24A.
</b>
<b>            				        RABIN
</b>              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.

<b>                    				KUJAN
</b>              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.

<b>                	  	      		RAB ZN
</b>              He's dead.

<b>                	  	      		KUJAN
</b>              Two hours. Just until he makes bail.

<b>               		          		RAB IN
</b>              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.                                

<b>                                                 PINK 06/07/94
</b>

<b>                                                                      25-29.
</b>
<b>24   INT. HOSPITAL - DAY                                                 24
</b>     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
<b>     BAER .
</b>     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.

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

<b>                                 RIDGLY
</b>                Nice to meet you.

<b>                                  BAER
</b>                Is he talking?

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

<b>                                  BAER
</b>                Hungarian?


<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   30.
</b>
<b>                                  RIDGLY
</b>                 I don't

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

<b>                                  RIDGLY
</b>                 We have a Turkish audiologist.

     Ridgly opens a door and Baer barrels through.
<b>     
</b><b>25    INT. HOSPITAL ROOM                                                   25
</b>     (&lt;&lt; .. 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.


<b>     BOLD IS OVERLAPPED:                                                
</b>

                                  KOVASH                                s
                 &lt;&lt;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.&gt;&gt;


<b>                                   BAER
</b>                 will he die?

<b>                                  PLUMBER
</b>                 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.

<b>                                  KOVASH
</b>                 &lt;&lt;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.&gt;&gt;


<b>                                           YELLOW 06/11/94
</b><b>                                                             30A.
</b>Baer pulls a cellular phone out of his jacket and dials.
<b>                             BAER
</b>           Call hospital security and put a man on
           the door until the police get here.

<b>                            KOVASH
</b>           &lt;&lt;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 . &gt;&gt;

<b>                                            BLUE 06/01/94
</b>

<b>                                                                31.
</b>
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.

<b>                            PLUMBER
</b>           Is he dangerous?

<b>                             BAER
</b>           Yes.

Someone picks up on the other end of the phone.

<b>                         BAER (CONT'D)
</b>           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.

<b>                             KOVASH
</b>           Keyser - Soze.                                               

<b>                              BAER
</b>           What?

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

<b>                            KOVASH
</b>           Keyser - Soze.

<b>                              BAER
</b>           No shit?
                          (Into Phone)
           Joel, call Dan Metzheiser over at Justice
           and find Dave Kujan from Customs.

<b>                                               YELLOW 06/11/94
</b>
<b>                                                                   32.
</b>
<b>2     INT. HALLWAY - POLICE STATION                                       26
</b>
      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.

<b>27    INT. RABIN'S OFFICE                                                 27
</b>      Kujan and Rabin sit down across from Verbal.

<b>                                                YELLOW 06/11/94
</b>

<b>                                                                   34.
</b>
<b>                                   KUJAN
</b>                               (Exasperated)
                 Verbal, you know we're trying to help
                 you.

<b>                                   VERBAL
</b>                 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 -

<b>                                   KUJAN
</b>                 Verbal, I know you know something. I know
                 you're not telling us everything.

<b>                                   VERBAL
</b>                 I told the D.A. everything I know.

<b>                                                                            28
</b><b>28    INT. WORKSHOP
</b>
     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.

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

<b>                              VERBAL (VOICE)
</b>                 I know he was good.

<b>                              KUJAN (VOICE)
</b>                 He was a corrupt cop, Verbal.

<b>29 INT. RABIN'S OFFICE                                                  29
</b>

<b>                                  VERBAL
</b>                 Sure. Fifteen years ago, but he was a
                 good thief Anyway, the cops wouldn't let
                 him go legit.

<b>                                   KUJAN
</b>                 Keaton was a piece of shit.


<b>                                  VERBAL
</b>                 You trying to get a rise out of me, Agent                  
                 Kujan?

<b>                              YELLOW 06/11/94
</b>
<b>                                                  34A.
</b>
<b>        			          KUJAN
</b>			I just want to hear your story.

<b>                                           YELLOW 06/11/94
</b>

<b>                                                              35.
</b>
<b>                             VERBAL
</b>            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.

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

<b>                              VERBAL
</b>            That's been suppressed. Anything in there
            is inadmissible.

<b>                              KUJAN
</b>            Oh, I know. Sweet deal you have. Total
            immunity .

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

<b>                              KUJAN
</b>                           (smiling)
            You know a dealer named Ruby Deemer,
            Verbal?

<b>                             VERBAL
</b>            You know a religious guy named John Paul?

<b>                              KUJAN
</b>            You know Ruby is in Attica? 

<b>                       VERBAL
</b>           He didn't have my lawyer.

<b>                              KUJAN
</b>           I know Ruby. He's very big on respect.
           Likes me very much.

Verbal sees this getting to something. His smiles fades.

<b>                        KUJAN (CONT'D)
</b>           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.?

<b>                                             SCRIPT DATE 5/25/94
</b>

<b>                                                                36.
</b>
<b>                             VERBAL
</b>           There's nothing in there about Ruby.

<b>                             KUJAN
</b>           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.

<b>                         KUJAN (CONT'D)
</b>           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?

<b>                            VERBAL
</b>           No.

<b>                             KUJAN
</b>           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.

<b>                            VERBAL
</b>           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.

<b>                         VERBAL (CONT'D)
</b>           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...

<b>                             RAB IN
</b>           Can we get started again?

<b>                             KUJAN
</b>           Now what happened after the line-up?

Verbal sneers at Kujan, unable to change the subject.


<b>                                                 BLUE 06/01/94
</b>

<b>                                                                     37.
</b>
<b>30    EXT. POLICE STATION - NIGHT - NEW YORK - SIX WEEKS PRIOR         30
</b>
     Keaton stops at the top of the front steps of the police
     station and lights a cigarette. Edie comes out behind him,
     fuming mad.

<b>                                   EDIE
</b>                ...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.

<b>                                 KEATON
</b>                Just forget about it.

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

<b>                                   EDIE
</b>                Absolutely not.

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

<b>                              EDIE (CONT'D)
</b>                I'11 have this thing in front of a grand
                jury by Monday.

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

<b>                                   EDIE
</b>                They want more time to think about
                investing.

<b>                                  KEATON
</b>                Goddamnit.

<b>                                   EDIE
</b>                They just said they wanted time.

<b>                                   KEATON
</b>                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.

<b>                                              SCRIPT DATE 5/25/94
</b>

<b>                                                                38.
</b>
<b>                              EDIE
</b>           Give me some credit. I got you this far,
           let's go to the grand jury. This is never
           going to stop if we -

<b>                             KEATON
</b>           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.

<b>                              EDIE
</b>           Don't give up on me now, Dean.

<b>                            KEATON
</b>           They'll never stop.

<b>                             EDIE
</b>           I love you.

<b>                             KEATON
</b>                          (To himself)
           They ruined me tonight.

<b>                              EDIE
</b>           Dean, I love you. Do you hear me?

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

<b>                         EDIE (CONT'D)
</b>           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.

<b>                            KEATON
</b>           Huh?

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

<b>                              EDIE
</b>           Come home with me, please. Dean?

<b>                                                   SCRIPT DATE 5/25/94
</b>

<b>                                                                     39.
</b>
      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.

<b>                                   EDIE
</b>                Come home, Dean.

<b>                                  KEATON
</b>                                (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.

<b>31    INT. HALLWAY - DAY                                                   31
</b>
      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.

<b>                                  KEATON
</b>                What are you doing here'! How did you find
                me?


<b>                                  VERBAL
</b>                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.
<b>                                                                            32
</b><b>32    INT. EDIE'S APARTMENT
</b>

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

<b>                                               SCRIPT DATE 5/25/94
</b>

<b>                                                                40.
</b>
Edie walks into the room in a man's button-down shirt and
sweat pants.

<b>                             EDIE
</b>           Dean, who was at the

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

<b>                            VERBAL
</b>           How do you do?

<b>                             KEATON
</b>           Verb - Roger, this is Edie Finneran.
           Edie, this is Roger Kint, he was at

<b>                              EDIE
</b>                             (Cold)
           I know who he is.

<b>                             VERBAL
</b>           I hope I didn't disturb you.

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

<b>                             VERBAL
</b>           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.

<b>                             KEATON
</b>           What the hell do you want?

<b>                             VERBAL
</b>           I wanted to talk to you. The other guys -

<b>                             KEATON
</b>           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 -

<b>                             VERBAL
</b>           They're gonna do a job. Three million
           dollars, maybe more.

Keaton is speechless. Verbal sits on the couch again.


<b>                                               SCRIPT DATE 5/25/94
</b>

<b>                                                                41.
</b>
<b>                        VERBAL (CONT'D)
</b>           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.

<b>                       VERBAL (CONT'D)
</b>           Thank you.

Verbal drinks slowly. Edie stands over him, her face blank.
It is an awkward moment. She deliberately makes Verbal
uncomfortable.

<b>LONG PAUSE - FINALLY:
</b>

<b>                              EDIE
</b>           So what is it you do, Mr. Kint?

<b>                            VERBAL
</b>           Umm ...

<b>                              EDIE
</b>           A hijacker like Dean, here? Or something
           more creative?

<b>                            KEATON
</b>           That's enough, Edie.

<b>                              EDIE
</b>                             (Angry)
           I don't know what you came here for, but
           we won't have any part of it.

<b>                            KEATON
</b>           Edie, please.

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

<b>                              EDIE
</b>           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.
<b>           HOW DARE YOU COME HERE?
</b>
Keaton is pulling her now. She yanks her arm away and shoves
him.

<b>                                          YELLOW 06/11/94
</b>

<b>                                                              42.
</b>
<b>                             EDIE
</b>           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.

<b>                            KEATON
</b>           Get out.

<b>                            VERBAL
</b>           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.

<b>                       VERBAL (CONT'D)
</b>           Don't hurt me.

<b>                             KEATON
</b>                           (Seething)
           Hurt you, you sonofabitch? I could kill
           you.

Keaton starts to shove Verbal out the door.


<b>                             VERBAL
</b>                           (Quickly)
           They're going to hit the Taxi Service.

Keaton freezes. LONG PAUSE.


<b>                             VERBAL
</b>           New York's Finest Taxi Service.


<b>                             KEATON
</b>           They - That's bullshit. They don't
           operate anymore.

<b>                             VERBAL
</b>           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.


<b>                                          YELLOW 06/11/94
</b>

<b>                                                              43.
</b>
<b>                            KEATON
</b>           What fence? Who?

<b>                             VERBAL
</b>           Some guy in California. His name is
           Redfoot.

<b>                            KEATON
</b>           Never heard of him.

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

<b>                            VERBAL
</b>           You have to come.

<b>                             KEATON
</b>           What's with you? What do you care whether
           I come or not?


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

<b>                            KEATON
</b>           Tough break.

<b>                             VERBAL
</b>           Don't tell me you don't need this. Is
           this your place?

Keaton is unable to answer.


<b>                        VERBAL (CONT'D)
</b>           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.

<b>                        VERBAL (CONT'D)
</b>           As clean as you could ever get, they'll
           never let you go now.

<b>                                               SCRIPT DATE 5/25/94
</b>

<b>                                                                44.
</b>                        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.

<b>                             KEATON
</b>           You watch your mouth.

<b>                             VERBAL
</b>                            (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.

<b>                            KEATON
</b>           I apologize.

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

<b>FINALLY:
</b>
<b>                            VERBAL
</b>           I was out of line.

<b>                             KEATON
</b>           You okay?

<b>                            VERBAL
</b>           I'11 be alright.

<b>                             KEATON
</b>           Well, I'm sorry.

<b>                             VERBAL
</b>           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.

<b>                                                    SCRIPT DATE 5/25/94
</b>

<b>                                                                      45.
</b>
<b>                                   KEATON
</b>                 How are they going to do it?

<b>                                   VERBAL
</b>                 McManus wants to go in shooting. I said
                 no way.

<b>                                  KEATON
</b>                 Fenster and Hockney?

<b>                                   VERBAL
</b>                 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.

<b>                                   KEATON
</b>                 Three million?

<b>                                  VERBAL
</b>                 Maybe more.

<b>                                   KEATON
</b>                 No killing?

<b>                                  VERBAL
</b>                 Not if we do it my way.

<b>     LONG PAUSE
</b>

<b>                                   KEATON
</b>                             (Lost in thought)
                 I swore I'd live above myself.

     Verbal smiles, knowing he has him.

<b>33 EXT. KENNEDY AIRPORT - DAY                                          33
</b>

<b>                              VERBAL (V.O.)
</b>                 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.

<b>                                                 BLUE 06/01/94
</b>
<b>                                                                     46.
</b>
<b>                              VERBAL (V.O.)
</b>                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.

<b>                              VERBAL (V.O.)
</b>                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 &quot;Fuck you&quot; from
                the five of us to the N.Y.P.D.

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

<b>34    INT. POLICE CAR                                                      34
</b>
     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.

<b>                                  RIZZI
</b>                How was the flight?

     Oscar hands Rizzi a thick envelope.

<b>                                   OSCAR
</b>                Will that get me to the Pierre?

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

<b>                                  RIZZI
</b>                That'll get you to Cape God.

     The two men laugh. Strausz watches the road, expressionless.
<b>35 EXT. HIGHWAY                                                            35
</b>     The cruiser heads towards the heart of Manhattan.


<b>                                                YELLOW 06/11/94
</b>

<b>                                                                    47.
</b>
<b>36 EXT. STREET - LATER
</b><b>                                                                            36
</b>
      The police car makes its way down a wide, abandoned street. A
      WHITE MINIVAN pulls out behind it and heads the same way.

<b>37 INT. POLICE CAR
</b><b>                                                                            37
</b>
      Strausz looks in the rear-view mirror. The white minivan is
      flashing his high-beams.

<b>                                  STRAUSZ
</b>                 What the

<b>                                   RIZZI
</b><b>                 LOOK OUT.
</b>
      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.

<b>38    EXT. STREET                                                           38
</b>
      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

<b>                                                    SCRIPT DATE 5/25/94
</b>

<b>                                                                      48.
</b>
     'He stands on the front of the roof and swings the hammer
     down.

<b>39 INT. POLICE CAR
</b><b>                                                                            39
</b>

<b>     SMASH
</b>
     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
<b>                 GIVE ME THE SHIT.
</b>
<b>                                  STRAUSZ
</b>                 Give it up.

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

<b>40 INT. FRONT VAN
</b><b>                                                                            40
</b>
     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.

<b>41 INT. POLICE CAR                                                       41
</b>
                                  McMANUS
                 The money.

     Strausz looks at Rizzi.

                             McMAMJS (CONT'D)
<b>                 THE MONEY. LET'S HAVE IT.
</b>
     Rizzi hands the money through the remains of the windshield.

<b>                                                YELLOW 06/11/94
</b>

<b>                                                                   49.
</b>
      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.

<b>                                  STRAUSZ
</b>                 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.

<b>                                  HOCKNEY
</b>                 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.

<b>42    EXT. STREET - LATER                                                  42
</b>
      The scene is swarming with fresh police cars. Strausz and
      Rizzi are fielding questions from a dozen other cops.

      Photographers are everywhere.

<b>                              VERBAL (V.O.)
</b>                 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.


<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   50.
</b>
<b>43 INT. GARAGE - NIGHT
</b><b>                                                                           43
</b>
     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.

<b>                                 HOCKNEY
</b>                When does the fence come?

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

<b>                                 VERBAL
</b>                In California?

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

<b>                                 HOCKNEY
</b>                Hold the fuckin' phone. You and Fenster?
                No, no, no.

                                 McMANUS
                Guys, come on.

<b>                                 HOCKNEY
</b>                I'm sure you can understand my
                hesitation.

<b>                                 FENSTER
</b>                Then who goes?

<b>                                 HOCKNEY
</b>                We all go. How about it, Keaton?

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

<b>                                 KEATON
</b>                We need to lay low for a while.

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   51.
</b>
                                 McMANUS
                Fine with me.

<b>     PAUSE
</b>
     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.
<b>44   SCENE DELETED                                                      44'
</b><b>45   INT. WAITING ROOM - LAW OFFICE - DAY                               45'
</b>     Keaton and Verbal sit side by side on a sofa. A sign on the
     door behind them reads: MONTGOMERY and LaGUARDIA - ATTORNEYS  
<b>     AT LAW.
</b>
<b>                                  VERBAL
</b>                We're going to miss the flight.

<b>                                  KEATON
</b>                We'll make it.

<b>                                  VERBAL
</b>                Don't do this. Send her a card -
                something.

<b>                                  KEATON
</b>                We'll make it.

<b>                               VOICE (O.S.)
</b>                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.

<b>                                          YELLOW 06/11/94
</b>

                                                             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.

<b>                            VERBAL                                     
</b>           We're gonna miss the plane.                                
                             (beat)
           She'll understand.

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   52.
</b>
      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.                   

<b>                                                                           46
</b><b>46    INT. LIBRARY
</b>

      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.


<b>47    INT. RABIN'S OFFICE -DAY - LOS ANGELES - PRESENT                 47
</b>

<b>                                  KUJAN
</b>                Heartwarming. Really, I feel weepy.

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

<b>                                  KUJAN
</b>                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.

<b>                                 VERBAL
</b>                He loved her.

<b>                                  KUJAN
</b>                Sure. And I'm supposed to believe that
                hitting the Taxi Service wasn't his idea

                either.

<b>                                  VERBAL
</b>                That was all Fenster and McManus.

<b>                                  KUJAN
</b>                Come on. Keaton was a cop for four years.
                Who else would know the Taxi Service

<b>                                           PINK 06/07/94
</b>
<b>                                                                53.
</b>                        KUJAN (cont'd)
          better? That job had his name all over
          it.

<b>                            VERBAL
</b>          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.                        +

<b>                            KUJAN
</b>          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.                        +

<b>                           VERBAL
</b>          You got him wrong.

<b>                            KUJAN
</b>          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.

<b>                        KUJAN (CONT'D)
</b>          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.

<b>                                                 PINK 06/07/94
</b>
<b>                                                                      53A.
</b>

<b>                                                                           48 
</b><b>48    SCENE DELETED
</b>

<b>49    SCENE DELETED/DIALOGUE MOVED - BOTTOM SCENE 47                    49
</b>
<b>                                                 PINK 06/07/94
</b>

<b>                                                                      54.
</b>
<b>50 INT. WORKSHOP                                                        50
</b>     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.

<b>51 INT. RABIN'S OFFICE                                                  51
</b>
<b>                              KUJAN (CONT'D)
</b>                He was dead just long enough for a murder
                rap to blow over, then he had lunch.


<b>                                               SCRIPT DATE 5/25/94
</b>

<b>                                                                55.
</b>
<b>                            VERBAL
</b>           I don't know about that.

<b>                             KUJAN
</b>           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.

<b>                             VERBAL
</b>                           (Blurting)
           He wasn't behind anything. It was the
           lawyer.

<b>                             KUJAN
</b>           What lawyer?

<b>PAUSE
</b>
<b>                        KUJAN (CONT'D)
</b>           What lawyer, Verbal?

Verbal stammers for a moment, looking around wildly.

<b>                             VERBAL
</b>           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.

<b>                             KUJAN
</b>           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.

<b>                            VERBAL
</b>           The D.A. gave me immunity.

<b>                             KUJAN
</b><b>           NOT FROM ME, YOU PIECE OF SHIT. THERE IS
</b>           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,

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                  56.
</b>                              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.

<b>                                 VERBAL
</b>                There was a lawyer. Kobayashi.

<b>                                  KUJAN
</b>                Is he the one that killed Keaton?

<b>                                  VERBAL
</b>                No. But I'm sure Keaton's dead.

<b>                                  KUJAN
</b>                Convince me. Tell me every last detail.
<b>52    SCENE DELETED                                                              52
</b><b>      53    INT. HOSPITAL - DAY                                                  53
</b>      (&lt;&lt;  &gt;&gt; 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.

<b>                                   BAER
</b>                Are you the translator?

<b>                                  BODI
</b>                Patrolman Lionel Bodi, sir.

<b>                                          YELLOW 06/11/94
</b>

<b>                                                              57.
</b>
<b>                             PLUMBER
</b>           Agent Beer, this is getting out of hand.

<b>                              BAER
</b>           I'11 see to it we're gone before he blows
           his porch light, Doctor.

Baer gestures to Tracy.

<b>                              BAER
</b>                             (To Bodi)
           This is Tracy Fitzgerald. She's a
           composite sketch artist from county.

The young couple smile at one another nervously.

<b>                              BODI
</b>           Hi.

<b>                             TRACY
</b>           Hi.

<b>                           METZHEISER
</b>                          (Impatient)
           I've got a noon meeting, Baer.

<b>                            PLUMBER
</b>           Agent Baer, please.

<b>                              BAER
</b>           Everyone calm down.
                           (To Bodi)
           Ask this man about the shoot-out in the
           harbor.

<b>                              BODI
</b>           &lt;&lt;My name is Bodi. How are you'&gt;&gt;

Kovash smiles with relief when he hears his own language.

<b>                             KOVASH
</b>           &lt;&lt;How am 17 You are as stupid as that
           one, but at least I can talk to you.&gt;&gt;


<b>                              BODI  
</b>           &lt;&lt;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.&gt;&gt;


<b>                            KOVASH                                    
</b>           &lt;&lt;We were there to buy a man and take him                  
           back to Hungary.&gt;&gt;

<b>                               YELLOW 06/11/94
</b>
<b>                                                  57A.
</b>
<b>                  	        BODI
</b>           He says they were buying It doesn't
           make sense. I'm sorry, I'm a little
           rusty. They were there to buy something.

<b>                            BAER
</b>           Dope, we know.

<b>                            KOVASH +
</b>           &lt;&lt;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.&gt;&gt;                              

<b>                              BODI
</b>           Not dope. Something else. Some what?.. He
           doesn't knob what they were buying. But
           not dope... people.

<b>                            KOVASH                                    
</b>           &lt;&lt;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.&gt;&gt;                                         


<b>                                          YELLOW 06/11/94
</b>

<b>                                                              58.
</b>
<b>                          METZHEISER
</b>           Your witness is whacked, Baer.

<b>                              BODI
</b>           He says he'll tell us everything he knows
           if we protect him.

<b>                             .BAER
</b>           Tell him fine.

<b>                             BODI  
</b>           &lt;&lt;He says that is fine.&gt;&gt;


<b>                            KOVASH  
</b>           &lt;&lt;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.&gt;&gt;                                               

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

<b>                          METZHEISER
</b>           I'11 be on my way.

Baer grabs Metzheiser by the arm.

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

<b>                              BODI  
</b>           &lt;&lt;Who is this Devil you keep talking
           about?&gt;&gt;  

<b>                             KOVASH
</b>           Keyser Soze He was in the harbor                         
           shooting everyone in sight.&gt;&gt;                            

Metzheiser is suddenly interested.                                  

<b>                              BODI
</b>           He says he saw him in the harbor. He was
           shooting... Killing... Killing many men.

<b>                            METZHEISER
</b>           Did he say Keyser Soze? He saw Keyser
           Soze

<b>                               YELLOW 06/11/94
</b>

<b>                                                  58A.
</b>
<b>                              BODI
</b>           He says he saw him in the harbor. He was
           shooting... Killing... Killing many men.

<b>                           METZHEISER
</b>           Did he say Keyser Soze? He saw Keyser
           Soze.

<b>                             KOVASH
</b>           &lt;&lt;Keyser Soze. Keyser Sate. I've seen his
           face. I see it when I close my eyes.&gt;&gt;

<b>                   BODI
</b>           He says he knows his face. He sees it
           when he closes his eyes.
<b>           
</b><b>                              YELLOW 06/11/94
</b>

<b>                                                                   59.
</b>
<b>                                METZHEISER
</b>                Ask him what this Devil looks like.

<b>                                   BAER
</b>                                (To Tracy)
                Ready?

     Tracy holds up her pad and pencil. She nods.

<b>54 EXT. LOS ANGELES SKYLINE - DAY - FIVE WEEKS PRIOR
</b><b>                                                                            54
</b>

<b>                              VERBAL (V.O.)
</b>                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.

<b>55    EXT. FRIENDSHIP BELL - NIGHT                                    55'
</b>     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.

<b>                                 REDFOOT
</b>                How've you been?

                                 McMANUS
                Good. You?

<b>                                 REDFOOT
</b>                Alright. How's it going, Fenster?

<b>                                 FENSTER
</b>                Getting by.


<b>                                              SCRIPT DATE 5/25/94
</b>

<b>                                                                60.
</b>
<b>                            REDFOOT
</b>           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.

<b>                             KEATON
</b>                          (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.

<b>                            REDFOOT
</b>           You must be Keaton.

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

<b>                             REDFOOT
</b>                          (To Verbal)
           The man with the plan.

Verbal smiles.

<b>                       REDFOOT (CONT'D)
</b>           Are you guys interested in more work?

McManus moves to answer, but Keaton cuts him off.

<b>                             KEATON
</b>           We're on vacation.

<b>                             REDFOOT
</b>           I've got a ton of work and no good
           people.

                            McMANUS
           What's the job?

<b>                                               SCRIPT DATE 5/25/94
</b>

<b>                                                                61.
</b>
Keaton shoots McManus a foul look. McManus pretends not to
notice.

<b>                             REDFOOT
</b>           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.

<b>                            HOCKNEY
</b>           Security?

<b>                            REDFOOT
</b>           Two bodyguards. Pretty good.

                             McMANUS
           Give us time to check it out?

<b>                            REDFOOT
</b>           I'd expect nothing less.

                            McMANUS
           We'll call you.

<b>                            REDFOOT
</b>           Take your time. Enjoy L.A.

<b>                             KEATON
</b>           A friend of mine in New York tells me you
           knew Spook Hollis.

<b>                             REDFOOT
</b>           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.

<b>                            KEATON
</b>           I shivved him.

Now McManus is shooting the angry look at Keaton.

<b>                        KEATON (CONT'D)
</b>           Better you hear it from me now than
           somebody else later.

<b>                            REDFOOT
</b>           Business or personal?

<b>                                              SCRIPT DATE 5/25/94
</b>

<b>                                                                62.
</b>
<b>                            KEATON
</b>           A little of both.

<b>                            REDFOOT
</b>           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?

<b>                            KEATON
</b>           One job, that was the deal.

                            McMANUS
           Take it as it comes, brother.

<b>                            KEATON
</b>           This is bullshit.

McManus laughs and walks away. Fenster and Hockney follow.
Verbal turns to Keaton.
<b>                            VERBAL
</b>           What is it Keaton?

<b>                            KEATON
</b>                            (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.

<b>                         VERBAL (V.O.)
</b>           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.

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   63.
</b>
<b>                                                                          56
</b><b>56   INT. PARKING GARAGE - NIGHT
</b>
     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.

<b>57   INT. VAN                                                             57
</b>
     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.

<b>58   INT. PARKING GARAGE                                                  58
</b><b>     DING-DING
</b>     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.

<b>                                           YELLOW 06/11/94
</b>

<b>                                                              64.
</b>
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.

<b>                            HIGHAM
</b>           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.

<b>                             HOCKNEY
</b>           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.

<b>                       HOCKNEY (CONT'D)
</b>           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.

<b>                       HOCKNEY (CONT'D)
</b>           ...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.

<b>                       HOCKNEY (CONT'D)
</b><b>           DON'T MOVE, YOU FUCKERS.
</b>
<b>                            FENSTER
</b><b>           RIGHT THERE. FREEZE.
</b>
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.

<b>                                           YELLOW 06/11/94
</b>

<b>                                                              65.
</b>
<b>                             KEATON
</b>            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.
<b>BOOM
</b>Both of McManus' guns go off like one shot. Tucci and Higham
collapse, each with a bullet in his head


<b>PAUSE
</b>
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.

<b>                                                  BLUE 06/01/94
</b>

<b>                                                                     66.
</b>
      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.

<b>      BOOM
</b>
      VERBAL SHOOTS SAUL. Keaton looks at him in surprise. Verbal
      trembles more than he does.

      The garage is silent.

<b>                                 HOCKNEY
</b>                What the hell?

                                 McManus
                Bad day. Fuck it.

<b>      DING-DING
</b>

      The elevator light comes on. All five men look.

<b>                                 KEATON
</b>                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.

<b>59    INT. VAN                                                             59
</b>
      The mood in the van is grim. Everyone is silent. Keaton pops
      the clasps on the case and opens it.

<b>                                 KEATON
</b>                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
<b>      WHITE POWDER.
</b>
<b>60    EXT. PARKING LOT - NIGHT                                             60
</b>
      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.                                                 +

<b>                                  KEATON                                      
</b>                What are you doing?                                           


<b>                                          YELLOW 06/11/94
</b>

<b>                                                              67.
</b>

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

<b>                             KEATON
</b>           We did it your way. Now I'11 deal with
           him.

<b>                            MCMANUS
</b>           You gonna kill him?

<b>                            KEATON
</b>           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?

<b>                            REDFOOT
</b>           Get a grip. I didn't know.

<b>                             KEATON
</b>           You didn't know.

<b>                                          YELLOW 06/11/94
</b>

<b>                                                              68.
</b>
<b>                            REDFOOT
</b>           The job got thrown to me by this lawyer.

<b>                            KEATON
</b>           Who is he?

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

<b>                            KEATON
</b>           We want to meet him.

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

<b>                            KEATON
</b>           Tell him we'll meet.

                            McMANUS
           If you're lying, Redfoot...

<b>                            REDFOOT
</b>           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.
<b>                       REDFOOT (CONT'D)
</b>           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.

<b>                                               YELLOW 06/11/94
</b>
<b>                                                                   69.
</b>
                                  McMANUS
                 Fuck you.

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

<b>61 INT. RABIN'S OFFICE - DAY - PRESENT                                61
</b>
<b>                                   KUJAN
</b>                 So this lawyer...

<b>                                  VERBAL
</b>                 Kobayashi.

<b>                                   KUJAN
</b>                 Came from Redfoot.

<b>                                  VERBAL
</b>                 Right.

<b>                                   KUJAN
</b>                 And why leave this out when you talked to
                 the D.A.?

<b>     A KNOCK AT THE DOOR
</b>     Rabin sticks his head in.
<b>                                   RAB IN
</b>                 Someone to see you, Agent Kujan.

     Kujan steps out into the hall, shutting the door behind him.

<b>62    INT. OUTSIDE RABIN'S OFFICE                                     62
</b>
     Kujan smiles instantly, recognizing the man standing with
     Rabin.  


<b>                                   KUJAN
</b>                 Jack. What are you doing here?

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

<b>                                   KUJAN
</b>                 Yeah.

<b>                                   BAER
</b>                 You can stop looking. There was no coke.
                 I've been in L.A. county with a guy they

<b>                                                PINK 06/07/94
</b>
<b>                                                                     70.
</b>                             BAER (cont'd)
               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.

<b>                                  KUJAN
</b>               There was ninety-one million -

<b>                                  BAER
</b>               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.

<b>                                 KUJAN
</b>               What was the money for?

<b>                                  BAER
</b>               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.

<b>                                 KUJAN
</b>               I don't get it.

<b>                                   BAER
</b>               They tell me you got the cripple from New
               York in there. He mention Keyser Soze

<b>                                 KUJAN
</b>               Who ?

<b>                                  BAER
</b>               Bear with me here...

<b>                                                                            63
</b><b>63 INT. RABIN'S OFFICE - LATER
</b>

     BOOM - The door bursts open.

<b>                                 KUJAN
</b>               Who is Keyser Soze

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

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   71.
</b>
<b>                                 VERBAL
</b>                Ahhh fuck.

<b>64 INT. HOLLYWOOD ATHLETIC CLUB - DAY - TWO WEEKS PRIOR              64'
</b>     Keaton stands while the rest sit and listen.
<b>                                  KEATON
</b>                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.


<b>                                KOBAYASHI
</b>                Mr. Keaton?

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

<b>                           KOBAYASHI (CONT'D)
</b>                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.

<b>                                 KEATON
</b>                What can we do for you?

<b>                                            BLUE 06/01/94
</b>
<b>                                                                72.
</b>
<b>                           KOBAYASHI
</b>           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.

<b>                            KEATON
</b>           Who's your boss?

<b>                           KOBAYASHI
</b>           My employer wishes to remain anonymous.

<b>                             KEATON
</b>           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?

<b>                           KOBAYASHI
</b>           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.

<b>                            KEATON
</b>           What is this?

<b>                             VERBAL
</b>           Who's Keyser Soze?                                        

<b>                           KOBAYASHI
</b>           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.


<b>                             VERBAL
</b>           Who's Keyser Soze?                                        

<b>                           KOBAYASHI
</b>           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.

<b>                             KEATON
</b>           An order.

<b>                                            BLUE 06/01/94
</b>

<b>                                                                73.
</b>
<b>                           KOBAYASHI
</b>           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.

<b>                      KOBAYASHI (CONT'D)
</b>           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.

<b>                      KOBAYASHI (CONT'D)
</b>           - guns allegedly set to be destroyed by
           the state of New York. They were to be
           &quot;lost&quot; 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.

<b>                      KOBAYASHI (CONT'D)
</b>           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.


<b>                                 BLUE 06/01/94
</b>

<b>                                                    74.
</b>
<b>                            KEATON
</b>           You set up the line-up.

<b>                            KOBAYASHI
</b>           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.

<b>                            KEATON
</b>           What about Redfoot?

<b>                            KOBAYASHI
</b>           Mr. Redfoot knew nothing. Mr. Soze rarely                 t
           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.

<b>                            FENSTER
</b>           So why tell us?

<b>                           KOBAYASHI
</b>           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.
<b>           
</b><b>                            HOCKNEY
</b>           Who is this guy? How do we know you work
           for Soze


<b>                           KOBAYASHI
</b>           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
           &quot;superior&quot; breed.

<b>                            MCMANUS
</b>           This is a load of shit.

<b>                           KOBAYASHI
</b>           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

<b>                                          YELLOW 06/11/94
</b>

<b>                                                              75.
</b>                       KOBAYASHI (cont'd)
           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.

<b>                             KEATON
</b>           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.

<b>                          KOBAYASHI
</b>           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. &quot;KEATON&quot;, &quot;McMANUS&quot;, &quot;HOCKNEY&quot;, &quot;FENSTER&quot; and
&quot;KINT&quot;

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.

<b>                             KEATON
</b>           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.

<b>                            HOCKNEY
</b>           They know everything.

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

<b>                                            BLUE 06/01/94
</b>

<b>                                                                76.
</b>
<b>                            FENSTER
</b>           Everybody I ever worked with, did time
           with.

<b>                            HOCKNEY
</b>           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.

<b>                            KEATON
</b>           This is not right.

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

                            McMANUS
           Bricks Marlin.

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

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

<b>                            FENSTER
</b>           I don't know. This is bad.

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

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

<b>                            KEATON
</b>           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.

<b>                                                 BLUE 06/01/94
</b>

<b>                                                                     77.
</b>
<b>                                 VERBAL
</b>                Who is Keyser Soze

<b>65 INT. RABIN'S OFFICE - DAY - PRESENT                                 65
</b>     Kujan leans into Verbal's face. He hangs on his every word.
<b>                                  VERBAL
</b>                He is supposed to be Turkish. Some say                   r
                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...

<b>66   SCENE DELETED                                                     66 
</b><b>67   INT. SOZE'S HOME - DAY                                            67 
</b>     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.

<b>                                                 BLUE 06/01/94
</b>
<b>                                                                     78.
</b>
<b>                              VERBAL (V.O.)
</b>                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.

<b>68    INT. SOZE'S HOME - LATER                                            68'
</b>
     The front door opens and in walks Keyser Sate. We are never         t
     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.

<b>                              VERBAL (V.O.)
</b>                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.

<b>                              VERBAL (V.O.)
</b>                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.

<b>     SOZE FIRES.
</b>
     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.

<b>                                                PINK 06/07/94
</b>
<b>                                                                     79.
</b>

<b>                             VERBAL (V.O.)
</b>                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.

<b>                             VERBAL (V.O.)
</b>                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.

<b>                             VERBAL (V.O.)
</b>                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.

<b>                                                                            69
</b><b>69 INT. RABIN'S OFFICE - DAY
</b>

<b>                                  KUJAN
</b>                Do you believe in him, Verbal?

<b>                                  VERBAL
</b>                Keaton always said: &quot;I don't believe in
                God, but I'm afraid of him.&quot; Well I
                believe in God, and the only thing that
                scares me is Keyser SOZE.

<b>                                                                            70
</b><b>70    INT. WORKSHOP
</b>

    Jack Baer and Rabin listen to Verbal on the speaker with one  
    ear.
<b>                                  RAB IN
</b>                You give this any weight, Agent Baer?

<b>                                                 PINK 06/07/94
</b>

<b>                                                                     80.
</b>

<b>                                   BAER
</b>                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.

<b>                                  RABIN                                     
</b>                Had you heard of him before?                                

<b>                                   BAER
</b>                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.

<b>                                  RAB IN
</b>                But you're here.

<b>                                   BAER
</b>                Shit yeah. I got a guy trying to walk out
                of the hospital on d fried drumstick to
                get away from SOZE. I'11 run it up the
                flagpole.

<b>71 INT. RABIN'S OFFICE                                                  71
</b>
<b>                                   VERBAL
</b>                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.

<b>                                   KUJAN
</b>                And this is why you never told the D.A.

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

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

<b>                                                  BLUE 06/01/94
</b>
<b>                                                                     81.
</b>
<b>                                  VERBAL
</b>                 I've got immunity now. What can you
                 possibly offer me?

<b>                                  KUJAN
</b>                 If there is a Keyser Soze he'll be
                 looking for you.

<b>                                  VERBAL
</b>                 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.

<b>                                  KUJAN
</b>                 So why play into his hands? We can
                 protect you.

<b>                                  VERBAL
</b>                 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.

<b>72    INT. HALLWAY OUTSIDE HOSPITAL ROOM - DAY                           72
</b>     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.                   

<b>                                           BLUE 06/01/94
</b>
<b>                                                               81A.
</b>

(&lt;&lt; &gt;&gt; Denotes liners spoken in Hungarian.)

                            BODI                                     c
          &lt;&lt;What sort of nose did he have?&gt;&gt;                          

<b>                           KOVASH                                     
</b>          &lt;&lt;It was smaller than that. Sharper.&gt;&gt;                      

<b>                             BODI
</b>                          (To Tracy)                                 +
          The nose is sharper. Smaller too.                          +
                    (To Arkosh in Hung.)                              
          &lt;&lt;And what about the hair? You said                         
          something earlier about it.&gt;&gt;                               

<b>                             KOVASH
</b>          &lt;&lt;It is longer than that. And not so                        
          dark. &gt;&gt;

<b>                            BODI  
</b>          &lt;&lt;Are you sure?&gt;&gt;

<b>                             KOVASH
</b>          &lt;&lt;Don't be stupid.&gt;&gt;                                        

<b>                             BODI
</b>                          (To Tracy)                                  
          He says the hair is longer and lighter.                     

<b>                                                 PINK 06/07/94
</b>
<b>                                                                      82.
</b>

<b>                                                                           73
</b><b>73   EXT. BEACH - DAY
</b>

     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.

<b>                                                                           74 
</b><b>74 SCENE DELETED/DIALOGUE MOVED
</b>
<b>                                                 PINK 06/07/94
</b>
<b>                                                                      83.
</b>

<b>                                                                           75
</b><b>75 INT RABIN'S OFFICE
</b>

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

<b>                                  KUJAN
</b>                This is totally irrelevant.

<b>                                  VERBAL
</b>                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.

<b>                                  KUJAN
</b>                Can we just get back to Kobayashi?

<b>                                  VERBAL
</b>                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.

<b>                                  KUJAN
</b>                You're stalling, Verbal.

<b>                                 VERBAL
</b>                Give a guy a break, huh?

<b>                                  KUJAN
</b>                What happened?

      Verbal slumps a bit. He realizes his stalling tactic has
      failed.
<b>                                   VERBAL
</b>                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.

<b>                                                    SCRIPT DATE 5/25/94
</b>

<b>                                                                     84.
</b>
<b>                                  KUJAN
</b>                Then what?

<b>                                  VERBAL
</b>                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.

<b>                                  KUJAN
</b>                What call?

<b>                                  VERBAL
</b>                Kobayashi told us where we could find
                Fenster.

<b>76 EXT. BEACH - NIGHT - TWO WEEKS PRIOR                               76
</b>     Keaton looks out over the ocean and smokes a cigarette.
<b>                                  KEATON
</b>                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.

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

<b>                                 KEATON
</b>                I'm sorry, McManus.

                                 McMANUS
                I want to bury him.

<b>                                  KEATON
</b>                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.

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   85.
</b>
<b>                                 KEATON
</b>                No shovel.

                                 McMANUS
<b>                WITH OUR HANDS.
</b>
<b>77   MT. BEACH                                                            77'
</b>
     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.

<b>                                 HOCKNEY
</b>                This is nuts.

                                 McMANUS
                Dig.

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

                                 McMANUS
<b>                DIG, YOU FUCKER.
</b>
     Hockney can see that McManus has truly gone over the edge for
     now. Keaton gives him a look that says don't argue.

<b>                                 HOCKNEY
</b>                Keaton, we gotta go. They're gonna find
                him.

<b>                                 KEATON
</b>                Dig.

<b>                                 VERBAL
</b>                What are we gonna do?

<b>                                 HOCKNEY
</b>                I can run. I got no problem with that.

<b>                                 KEATON
</b>                They don't seem to have a problem with it
                either.

                                 McMANUS
                Nobody runs.

<b>                                 HOCKNEY
</b>                This ain't my boy we're burying. I don't
                owe anybody.

<b>                                                    SCRIPT DATE 5/25/94
</b>

<b>                                                                     86.
</b>
                                 McMANUS
                We got a deal here.

<b>                                 HOCKNEY
</b>                Since when?

                                  McMANUS
                Since tonight.                                             +

<b>                                  HOCKNEY
</b>                Fuck that.                                                  

                                 McMANIJS
                It's payback.

<b>                                  KEATON
</b>                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.
<b>     
</b><b>78 INT. RABIN'S OFFICE - DAY - PRESENT                                 78
</b>
     Verbal smokes with his good hand shaking badly.
<b>     
</b><b>                                   KUJAN
</b>                And after they killed Fenster nobody
                would run?


<b>                                  VERBAL
</b>                I wanted to. I thought we could make it.

<b>                                   KUJAN
</b>                Why didn't you say anything?

<b>                                  VERBAL
</b>                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

<b>                                                 PINK 06/07/94
</b>
<b>                                                                      87.
</b>                             VERBAL (cont'd)
                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.

<b>79   EXT. PARKING LOT - NIGHT - TWO WEEKS PRIOR                         79
</b>
     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.


<b>                                                                           80
</b><b>80   INT. OFFICE BUILDING - DAY
</b>

     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.

<b>                                 HOCKNEY
</b>                He's coming up.

<b>                                                                            81
</b><b>81   INT. HALLWAY - FORTIETH FLOOR
</b>

     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         i
     behind him, he scrambles for the ceiling hatch.                      

<b>                                                                            82 
</b><b>82 SCENE DELETED
</b>
<b>                                                 PINK 06/07/94
</b>

<b>                                                                      88.
</b>

                                                                           83f
<b>83 SCENE DELETED
</b>

<b>                                                                           84 
</b><b>84 SCENE DELETED
</b>

<b>                                                                           85 
</b><b>85 SCENE DELETED
</b>

<b>                                                                           86 
</b><b>86 INT. HALLWAY
</b>

     Keaton and Verbal listen for anything on the radio.


<b>                                                                            87 
</b><b>87 SCENE DELETED
</b>

<b>                                                                            88 
</b><b>88 SCENE DELETED
</b>
<b>                                                 PINK 06/07/94
</b>
<b>                                                                      89.
</b>

<b>                                                                           89 
</b><b>89    INT. LOBBY
</b>

      The elevator opens. Kobayashi and his bodyguards get on the
      elevator.
<b>                                                                           90
</b><b>90    INT. ELEVATOR
</b>

      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.

<b>                                                                            91
</b><b>91    INT. HALLWAY - FORTIETH FLOOR
</b>

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

      out.

<b>                                            BLUE 06/01/94
</b>

<b>                                                                90.
</b>
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.

<b>                            KEATON
</b>           The answer is no.

<b>                           KOBAYASHI
</b>           Mr. Soze will be most -

<b>                             KEATON
</b>           Listen to me, cocksucker. There is no
           Keyser Sate. If you say his name again,
           I'11 kill you right here.

<b>                           KOBAYASHI
</b>           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.

<b>                           KOBAYASHI
</b>           Ahh, Mr. Hockney. Do join us.

<b>                             KEATON
</b>           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.

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

<b>                             KEATON
</b>           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.

<b>                           KOBAYASHI
</b>           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

<b>                                                 BLUE 06/01/94
</b>
<b>                                                                     91.
</b>

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

<b>                               KOBAYASHI
</b>                I am sorry, Mr. McManus.
                               (To Keaton)
                f implore you to believe me, Mr. Keaton.
                Mr. Soze is very real and very                             +
                determined.

<b>                                 KEATON
</b>                We'll see.

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

<b>                                 KOBAYASHI
</b>                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.

<b>                                 KEATON
</b>                What did you say?

<b>                                 KOBAYASHI
</b>                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.

<b>                           KOBAYASHI (CONT'D)
</b>                No matter. Kill away, Mr. McManus.

<b>                                 KEATON
</b>                You're lying.

<b>                                KOBAYASHI
</b>                Am I?
<b>                                                                            92
</b><b>92    INT. HALLWAY - FIFTIETH FLOOR
</b>

     Everyone follows Kobayashi quietly down a dimly lit, oak-
     lined hallway. Verbal holds a small pistol discreetly in the
     small of Kobayashi's back.

<b>                                                    SCRIPT DATE 5/25/94
</b>

<b>                                                                     92.
</b>
     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.
<b>     
</b><b>93    INT. LOBBY                                                            93
</b>     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.

<b>                                KOBAYASHI
</b>                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.
<b>                           KOBAYASHI (CONT'D)
</b>                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.

<b>                                KOBAYASHI
</b>                I'11 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.

<b>                                                    SCRIPT DATE 5/25/94
</b>
<b>                                                                    93.
</b>     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.

<b>94    EXT. HILLSIDE ROAD - DAY                                            94'
</b>
     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.

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

<b>                                 HOCKNEY
</b>                Can we stealth these guys?

<b>                                  KEATON
</b>                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?

<b>                                  KEATON
</b>                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.

<b>                                 HOCKNEY
</b>                Me too.

<b>                                  VERBAL
</b>                Did you hear what he just said?

<b>                                  HOCKNEY
</b>                If I'm going in, I want a stake.

<b>                                                YELLOW 06/11/94
</b>

<b>                                                                   94.
</b>
                                  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.

<b>                                  VERBAL
</b>                 I just can't believe we're just gonna
                 walk into certain death.

<b>      PAUSE
</b>      They all suddenly realize the weight of their situation.
<b>      FINALLY:
</b>                                  McMANUS
                 News said it's raining in New York.

      No one knows quite how to respond.

<b>95    EXT, PIER - SAN PEDRO - NIGHT                                       95
</b>
      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.                                          

<b>96    EXT. BOATHOUSE                                                      96
</b>
      Behind an old and weathered boat in dry-dock, Keaton and
      Verbal watch the boat from the shadows.

<b>                                  VERBAL
</b>                 What-are they speaking?

<b>                                  KEATON
</b>                 Russian, I think. I don't know.

<b>                                  VERBAL
</b>                 Hungarian?

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   95.
</b>
<b>                                 KEATON
</b>                Knock it off.

<b>      DOLLY OVER TO REVEAL:
</b>

      McManus climbing up the side of the boathouse.

      CONTINUE PAST HIM TO REVEAL:                                        r


      A large boat. A very large boat.

<b>97    EXT. BARGE                                                          97 
</b>
      Hockney maneuvers through a mesh of twisted steel, arriving
      at a vantage point near the stern of the large boat.                 

<b>      HOCKNEY'S P.O.V.                                                     
</b>
      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.

<b>                                 HOCKNEY                                   
</b>                Are we ready, kids?                                        

<b>98    SCENE DELETED                                                       98 
</b><b>99    SCENE DELETED/MOVED TO BOTTOM SCENE 97                              99 
</b><b>100   EXT. BOATHOUSE.-- ROOF                                              100 
</b>      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.

<b>                                               YELLOW 06/11/94
</b>
<b>                                                                   95A.
</b>
<b>101 MT. BOATHOUSE                                                      101'
</b>
<b>                                  KEATON
</b>                               (into radio)
                Everyone shut up. I'm ready. McManus, you
                better be set up in ten seconds.

                                  McMANUS
                                (On radio)
                I'm there.

<b>                                                YELLOW 06/11/94
</b>

<b>                                                                   96.
</b>
<b>                                  KEATON
</b>                                (To Verbal)
                 I want you to stay here. Understand?

<b>                                  VERBAL                                 +
</b>                 But I'm supposed to -                                    

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

<b>                                  VERBAL
</b>                                 (Confused)
                 Keaton, I can't just -

<b>                                  KEATON
</b>                 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.

<b>                                  VERBAL
</b>                 What if I

<b>                                  KEATON
</b>                 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.

<b>                             KEATON (CONT'D)
</b>                 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.

<b>102   EXT. DOCK                                                        102'
</b>
     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           

<b>                                                YELLOW 06/11/94
</b>

<b>                                                                   97.
</b>
     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.

<b>103  EXT. BOATHOUSE - ROOF                                               103'
</b>     McMANUS'S P.O.V.
     McManus stares through the scope of his rifle at the scene.
     The cross-hairs breeze past Keaton and find a target. A man
     in a suit.

                                  McMANUS
                 Pow.

     He moves to another and then another, picking up speed and
     mock-shooting the men. He is steady and quick. It is clear he
     could take all fifteen in a few seconds.

                             McMANUS (CONT'D)
                 Pow-pow-pow-pow-pow-pow . Oswald was a
                 fag.

<b>104  EXT. DOCK                                                           104'
</b>

     The men shout questions at Keaton in a number of languages.
<b>105  EXT. BARGE                                                          105'
</b><b>     HOCKNEY'S P.O.V.                                                         
</b>     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.

<b>106  EXT. BOATHOUSE''                                                    106'
</b>
     Verbal remains in the darkness, looking frightened.
107  INT. BOATHOUSE - ROOF                                               107a
     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.

<b>                                               YELLOW 06/11/94
</b>
<b>                                                                   98.
</b>
<b>108  EXT. DOCK                                                           108'
</b>
     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.

<b>     IT EXPLODES                                                          
</b>     The men surrounding Keaton, are distracted.
     Keaton pulls a pistol out of each pocket and shoots the two
     men closest to him.                                                  

<b>109  EXT. BOATHOUSE - ROOF                                               109'
</b>
                                 McMANUS
<b>                ELVIS HAS LEFT THE BUILDING.
</b>
     He fires as fast as he can.

<b>110  EXT. PIER                                                           110
</b>
     The men from the boat and the men in suits try to peg Keaton,
     but McManus' sniping has them running.

<b>111  INT. CRANE                                                          111
</b>
     The crane operator opens the door to bails out, leaving the
     crane in motion.,,

<b>112  EXT. BOATHOUSE - ROOF                                               112'
</b>
     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.                                                 i

<b>     MEANWHILE ON THE DOCK:                                               
</b>
     Keaton climbs up onto a small lifeboat hanging from the side         
     of the larger boat. From this he climbs aboard the large             
     boat.

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   99.
</b>113   EXT. DOCK                                                            113f
      Hockney is firing in all directions.
      SUDDENLY, he realizes no one is left on the dock.

<b>      PAUSE  
</b>
      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.                                 I                       i

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

<b>                                  HOCKNEY                                  
</b>                               (In Spanish)
                &lt;&lt;DON'T SHOOT, DON'T SHOOT. LET'S GET THE                 +
                FUCK OUT OF HERE. EVERYONE IS DEAD.&gt;&gt;                      

      BOOM                                                                i

      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.

<b>114   INT. VAN                                                             114
</b>
      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.
<b>      BOOM
</b>      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.                                       

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   99A.
</b>
     BOOM - Another shot takes off the top of his head.

<b>115  EXT. PIER                                                            115
</b>
     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.

<b>                                                YELLOW 06/11/34
</b>

<b>                                                                   100.
</b>
<b>116  EXT. WAREHOUSE                                                      116
</b>
     Verbal is wrestling with what to do. He finally makes a break
     for the other side of the boathouse.

<b>117  EXT. BOAT DECK                                                      117'
</b>     The crane continues to swing.
     A single bullet hits one of the barrels on the suspended
     pellet.

     Gasoline pours out through the bullet-hole.
118  SCENE DELETED                              '                        118f
<b>119  EXT. BOAT                                                           119
</b>     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.

<b>120  EXT'. PIER                                                          120'
</b>
     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.                     

<b>121  INT. RABIN'S OFFICE - DAY - PRESENT                                 121
</b>
<b>                                  KUJAN
</b>                Why didn't you run?

<b>                                                 PINK 06/07/94
</b>

<b>                                                                      101.
</b>

<b>                                  VERBAL
</b>                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.

<b>     A KNOCK ON THE DOOR.
</b>
     Rabin steps in and motions for Kujan to come outside.


<b>                                                                          122'
</b><b>122  INT.HALLWAY
</b>

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

<b>                                   BAER
</b>                A boy came across a body on the beach
                this morning. Thrown clear when the boat                  
                burned. Shot once in the head. Two guys                   
                from the F.B.I. just identified him.                     +

<b>                                  KUJAN
</b>                And ?

<b>                                  RABIN
</b>                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.

<b>                                  KUJAN
</b>                Kobayashi.

     Bear nods.

<b>                                   RAB IN
</b>                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.

<b>                                  KUJAN
</b>                A big fucking rat.

<b>                                                 PINK 06/07/94
</b>

<b>                                                                     102.
</b>
<b>                                  RABIN +
</b>                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.

<b>                                  KUJAN
</b>                Keyser Soze

<b>                                  BAER
</b>                There's more.

<b>123 INT. RABIN'S OFFICE - MOMENTS LATER                               123
</b>     Kujan walks in and sits down in front of Verbal. He smiles.
<b>                                  KUJAN
</b>                I'11 tell you what I know. Stop me when
                it sounds familiar.

     Verbal is confused.

<b>                                  KUJAN
</b>                There was no dope on that boat.

<b>124  INT. BOAT - NIGHT - ONE WEEK PRIOR                               124
</b>
     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.

<b>                                                                      125
</b><b>125  INT. CORRIDOR
</b>

     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.

<b>                                                 BLUE 06/01/94
</b>

<b>                                                                     103.
</b>
<b>                              MAN IN ROBE
</b>                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.

<b>                               MAN IN ROBE
</b><b>                                 (CONT'D)
</b><b>                I'M TELLING YOU IT'S KEYSER SOZE.                           
</b>
     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.

<b>126   INT. HOLD                                                            126
</b>
     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?

<b>                                 KEATON
</b>                What happened to you?

                                 McMANUS
                Keyser Soze is on the boat.                                 

<b>                                 KEATON
</b>                What?

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

<b>                                 KEATON
</b>                Are you alright?

     McManus rubs some of the blood off with his sleeve.

<b>                                                    SCRIPT DATE 5/25/94
</b>

<b>                                                                     104.
</b>
                                 McMANUS
                Huh? Oh, It's not mine.

<b>                                  KEATON
</b>                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.

<b>                                  KEATON
</b>                Right behind you.

<b>127   INT. CORRIDOR                                                     127
</b>
     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.

<b>                                  KEATON
</b>                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.

<b>                                  KEATON
</b>                I can't remember which way.

                                 McMANUS
                Right -

<b>     BOOM - BOOM
</b>
     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.

<b>128 INT. HALLWAY - CABIN                                                128
</b>     Jaime squints and cocks his head.

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   105.
</b>
      SOMEONE IS COMING. He raises a pistol and crouches by the
      door.

<b>129   INT. CABIN                                                         129
</b>
      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.

<b>      A FIGURE LOOMS IN THE DOOR
</b>
      The man in the bathrobe looks up at the figure. We cannot see
      him.

<b>                               MAN IN ROBE
</b>                I told them nothing.

<b>      BOOM
</b>

      The man in the robe falls dead.
<b>130   EXT. DECK - MOMENTS LATER                                          130
</b>      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.

<b>131   EXT. PIER - TOP OF RAMP                                            131
</b>
      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.


<b>                                                                         132
</b><b>132   EXT. DECK
</b>

      Keaton hears a noise behind him. He swings around and points
      his gun at McManus again. He puts the gun down.

<b>                                                YELLOW 06/11/94
</b>
<b>                                                                   106.
</b>
      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.

<b>133   EXT. PIER                                                            133'
</b>
      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.

<b>134   EXT. DECK                                                            134
</b>
      Keaton kneels by McManus, trembling with rage. After a moment
      he stands, looking down at McManus' dead body.

<b>135   EXT. PIER                                                            135
</b>
      SUDDENLY, Verbal realizes something. He turns and goes to
      call out a warning to Keaton. He is too late.

<b>136   EXT. DECK                                                            136
</b>      Keaton never sees the crane coming.
<b>      WHAM
</b>
      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.                                   

<b>137   EXT. PIER                                                            137
</b>
      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.

<b>                                          YELLOW 06/11/94
</b>

<b>                                                             106A.
</b>
&gt;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.

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   107.
</b>
     Something about this man terrifies him.
<b>138  SCENE DELETED                                                     '  138'
</b><b>139  INT. RABIN'S OFFICE - DAY - PRESENT                        .         139
</b><b>                                  KUJAN
</b>                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.

<b>                              KUJAN (CONT'D)
</b>                A man in a suit with a slim build. Tall.

<b>                                 VERBAL
</b>                Wait a minute.

<b>                                  KUJAN
</b>                            (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.


<b>                                  VERBAL
</b>                I - there had to be dope there.

<b>                                            BLUE 06/01/94
</b>

<b>                                                                108.
</b>
<b>                             KUJAN
</b>           Don't shine me, Verbal. No more stalling.
           You know what I'm getting at.

<b>                            VERBAL
</b>           I don't.

<b>                             KUJAN
</b><b>           YES YOU DO. YOU KNOW WHAT I'M GETTING AT.
</b><b>           THE TRUTH. TRY TO TELL ME YOU DIDN'T
</b><b>           KNOW. TRY TO TELL ME YOU SAW SOMEONE KILL
</b><b>           KEATON .
</b>
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.

<b>                        KUJAN (CONT'D)
</b><b>           TRY TO REEF LYING TO ME NOW. I KNOW
</b><b>           EVERYTHING .
</b>
<b>                             VERBAL
</b>           I don't know what you're talking about.

<b>                             KUJAN
</b><b>           YOU KNOW. YOU'VE KNOWN THIS WHOLE FUCKING
</b><b>           TIME. GIVE IT TO ME.
</b>
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.

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

<b>                             KUJAN
</b>           Then why didn't you help him?

<b>                             VERBAL
</b>           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.

<b>                             KUJAN
</b>           But Keaton...

<b>                             VERBAL
</b>           It was Keyser Soze, Agent Kujan. I mean                    
           the Devil himself. How do you shoot the
           Devil in the back?

<b>                                               YELLOW 06/11/94
</b><b>                                                                  109.
</b>     Verbal holds up a shaking, twisted hand.
<b>                            VERBAL (CONT'D)
</b>                What if you miss?

<b>140  EXT. BARGE - NIGHT - ONE WEEK PRIOR                               140'
</b>
     Verbal is hiding in the tangle of girders and cables on the
     barge.

<b>     VERBAL'S P.O.V.
</b>

     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.

<b>     RED AND BLUE LIGHTS FLASH BEHIND VERBAL
</b>
     Verbal turns. He can just make out police cars coming in the
     distance.

<b>     BANG
</b>
     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.                                                            

<b>     MOVE INTO THE DARKNESS.                                              
</b>
     Sirens are close now. Almost here. The sound of fire raging
     out of control.

<b>     SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET             
</b><b>     POUNDING THE PAVEMENT.
</b>
<b>                                          YELLOW 06/11/94
</b><b>                                                             109A.
</b><b>MOVE FURTHER, SLOWER, INTO THE DARKNESS.
</b>Voices yelling. New light flickering in the surrounding
darkness.

<b>                                                 BLUE 06/01/94
</b><b>                                                                     110.
</b><b>141 INT. RABIN'S OFFICE - DAY - PRESENT                               141
</b><b>                                  KUJAN
</b>                Arturo Marquez. Ever hear of him?

<b>                                 VERBAL
</b>                Wha- No.

<b>                                  KUJAN
</b>                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.

<b>                                 VERBAL
</b>                I never heard of him.

<b>                                  KUJAN
</b>                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.

<b>                                  VERBAL
</b>                I said I never heard of him.


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

<b>                                 VERBAL
</b>                I don't

<b>                                  KUJAN
</b>                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.

<b>                                  VERBAL
</b>                But how - wait. You're saying SOZE sent                  t
                us to kill someone?


<b>                                            BLUE 06/01/94
</b>
<b>                                                                111.
</b>
<b>                             KUJAN
</b>           I'm saying Keaton did.

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

<b>                        KUJAN (CONT'D)
</b>           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?

<b>                            VERBAL
</b>           He wanted me to live.

<b>                             KUJAN
</b>           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'

<b>                            VERBAL
</b>           Edie.

<b>                             KUJAN
</b>           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?

<b>                            VERBAL
</b>           Because he was my friend.

<b>                             KUJAN
</b>           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 .

<b>SUDDENLY:
</b>
<b>                            VERBAL
</b>           No...

<b>                             KUJAN
</b>           Keaton was Keyser Soze

<b>                            VERBAL
</b><b>           NO.
</b>
<b>                                              SCRIPT DATE 5/25/94
</b>

<b>                                                                112.
</b>
<b>                             KUJAN
</b>           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.

<b>                            VERBAL
</b><b>           NO, NO, NO, NO, NO.
</b>
<b>                             KUJAN
</b><b>           THE KIND OF MAN THAT COULD HAVE KILLED
</b><b>           EDIE FINNERAN.
</b>
A strange look crosses Verbal's face. Shock perhaps, or
revelation.

<b>                        KUJAN (CONT'D)
</b>           They found her yesterday in a hotel in
           Pennsylvania. Shot twice in the head.

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

<b>                            VERBAL
</b>           Edie...

<b>                             KUJAN
</b>           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.

<b>                            VERBAL
</b>           This is all bullshit.

<b>                             KUJAN
</b>           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.

<b>                             VERBAL
</b>           I knew him. He would never -

<b>                             KUJAN
</b>           He programmed you to tell us just what he
           wanted you to. Customs has been

<b>                                               SCRIPT DATE 5/25/94
</b>

<b>                                                                113.
</b>                         KUJAN (cont'd)
           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.


<b>                             VERBAL
</b><b>           BUT WHY ME? WHY NOT HOCKNEY OR FENSTER OR
</b>           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.

<b>                             KUJAN
</b>           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.

<b>                         KUJAN (CONT'D)
</b>           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.

<b>                             VERBAL
</b>                           (Sobbing)
           It was all Keaton. We followed him from
           the beginning.

Kujan smiles with triumphant satisfaction.

<b>                         VERBAL (CONT'D)
</b>           I didn't know. I saw him die. I believe
           he's dead. Christ

<b>                             KUJAN
</b>           Why lie about everything else, then?

<b>                             VERBAL
</b>           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

<b>                                            BLUE 06/01/94
</b>

<b>                                                               114.
</b>                        VERBAL (cont'd)

           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.

<b>                             KUJAN
</b>           You're not safe on your own.

<b>                            VERBAL
</b>           You think he's..?

<b>                             KUJAN
</b>           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.

<b>                             VERBAL
</b>           I'm not bait. No way. I post today.

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

<b>                             VERBAL
</b>           I'11 take my chances, thank you. It's
           tougher to buy the cheapest bag-man than
           it is to buy a cop.

<b>                             KUJAN
</b>           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.

<b>                             VERBAL
</b>           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'11
           keep it shut 'cause I let Keaton down by
           getting caught - Edie Finneran too. And
           if they kill me, it's

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   115.
</b>                             VERBAL (cont'd)
                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.
<b>                            VERBAL (CONT'D)
</b>                Fuckin' cops.

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

<b>142  INT. HOSPITAL - DAY                                                142
</b>
     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.

<b>143  INT. HOSPITAL RECEPTION ROOM                                       143
</b>
     Metzheiser walks behind the reception desk without asking the
     nurse for permission and helps himself to the fax machine.

<b>144  INT. DEPOT - LATER                                                 144
</b>
     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.

<b>                                    COP
</b>                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.

<b>145 INT. DISPATCHER'S OFFICE                                            145
</b>
     Jack Baer stands by a fax machine. A green light comes on
     next to a digital display.

     The display reads: RECEIVING

<b>                                                 BLUE 06/01/94
</b><b>                                                                     116.
</b><b>146   INT. RABIN'S OFFICE                                                 146
</b>     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.

<b>                                  RAB IN
</b>                You still don't know shit.

<b>                                  KUJAN
</b>                I know what I wanted to know about
                Keaton.

<b>                                  RAB IN
</b>                Which is shit.

<b>                                  KUJAN
</b>                No matter. He'll have to know how close
                we came.

<b>                                  RAB IN
</b>                Keyser Sate or not, if Keaton's alive
                he'll never come up again.

<b>                                  KUJAN
</b>                I'11 find him.

<b>                                  RAB IN
</b>                Waste of time.

<b>                                  KUJAN
</b>                               (To himself)
                A rumor is not a rumor that doesn't die.

<b>                                  RAB IN
</b>                What?

<b>                                  KUJAN
</b>                Nothing. Something I - forget it.

     Kujan shakes his head. He gestures to the desk.

<b>                             KUJAN (CONT'D)
</b>                Man, you're a fucking slob.

     Rabin regards the mess of his office.

<b>                                  RAB IN
</b>                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


<b>                                                 BLUE 06/01/94
</b>
<b>                                                                     117.
</b>                              RABIN (cont'd)
                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.

<b>147  EXT. STREET                                                         147
</b>
     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.

<b>148  INT. DISPATCHER'S OFFICE                                    - 148
</b>
     A single sheet of paper comes out of the fax machine, face
     down.

<b>149  INT. RABIN'S OFFICE                                                 149
</b>
     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.

<b>     KUJAN'S P.O.V.
</b>
     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.

<b>                                               YELLOW 06/11/94
</b><b>                                                                  118.
</b>      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.

<b>                           KOBAYASHI PORCELAIN.
</b>
<b>150   EXT. HALLWAY                                                          150
</b>
      Kujan is sprinting wildly down the hall for the stairs.

<b>151   EXT. STREET                                                           151
</b>
      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.

<b>152   INT. DEPOT                                                            152
</b>
      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.

<b>                                   KUJAN
</b>                WHERE IS HE? DID YOU SEE HIM?                             t

<b>                                    COP
</b>                The Cripple? He went that way.                             

<b>                                               YELLOW 06/11/94
</b>

<b>                                                                   118A.
</b>
     The cog gestures towards the door.

     Kujan runs outside looking around frantically.

<b>153 SCENE DELETED                                                       153'
</b>
<b>                                                YELLOW 06/11/94
</b>

<b>                                                                   119.
</b>

<b>154  EXT. SIDEWALK                                                       154
</b>
     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.

<b>155  INT. CAR                                                            155
</b><b>     DRIVER'S P.O.V.
</b>     The driver's hands tap the wheel patiently. His eyes follow
     Verbal as he fumbles through the crowd.

<b>156  EXT. SIDEWALK                                                       156
</b>
     Kujan pushes and shoves, looking this way and that.
<b>157  EXT. STREET                                                         157
</b>     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.

<b>     CRANE UP VERBAL'S BODY
</b>
     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

<b>                                                       BLUE 06/01/94
</b>
<b>                                                                           120.
</b>
<b>I-
</b>           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.

<b>     158   INT. DISPATCHER'S OFFICE                                           158
</b>

           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.

<b>     159   EXT. STREET                                                        159
</b>           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.

<b>           BLACK
</b>
<b>                  
</b>




<b></PRE>
</b>
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</b><b></b></pre><br>
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	<td><h1>Usual Suspects, The</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Christopher McQuarrie" title="Scripts by Christopher McQuarrie">Christopher McQuarrie</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Crime" title="Crime Scripts">Crime</a>&nbsp;&nbsp;<a href="/genre/Mystery" title="Mystery Scripts">Mystery</a>&nbsp;&nbsp;<a href="/genre/Thriller" title="Thriller Scripts">Thriller</a><br><br><br>
		
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How many people did Roger commit crimes with, according to the story?
How many people did Roger commit crimes with , according to the story ?
4
4
A total of four other criminals.
A total of four other criminals .