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  1. afişinde;
    five criminals, one line up, no coincidence yazan aşmış bir film.

    ek olarak; 'the truth is always in the last place you look' yazar ki konu ile direkt bir bağıntı içerir.
  2. senaryosunu da yazayım tam olsun *

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

    off in the very far distance, one can make out the sound of

    suddenly, a single match ignites and invades the darkness. ıt
    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. ıt bleeds freely. an un-lit
    cigarette hangs in the corner of his mouth.

    ın 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 ıgnıtes with a poof.

    the flame runs up the stream, gaining in speed and intensity.
    ıt begins to ripple and rumble as it runs down the deck
    towards the stern.

    2 ext. boat - nıght - stern 2'

    a stack of oil drums rests on the stern. they are stacked on
    a palette with ropes at each corner that attach it to a huge
    crane on the dock. one of the barrels has been punctured at
    it's base. gasoline trickles freely from the hole.

    the flame is racing now towards the barrels. keaton smiles
    weakly to himself.

    the flame is within a few yards of the barrels when another
    stream of liquid splashes onto the gas. the flame fizzles out
    pitifully with a hiss.

    two feet straddle the flame. a stream of urine flows onto the
    deck from between them.

    blue 06/01/94


    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. ıt 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. ıt is a fluid motion,

    somewhat showy.
    keaton looks up at the man. a look of realization crosses his
    face. ıt is followed by frustration, anger, and finally

    voıce (o.s.)
    how are you, keaton?

    ı'd have to say my spine was broken,

    he spits the name out like it was poison.

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

    voıce (o.s.)

    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.

    voıce (o.s.)
    twelve thirty.

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


    the sound of keaton's body slumping onto the deck.

    yellow 06/11/94


    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
    bodıes. twenty or more men have been shot to pieces and lie
    scattered everywhere in what can only be the aftermath of a
    fierce fire-fight.

    a barge comes ınto vıew.

    on the deck of the barge is a tangle of cables and girders.
    the mesh of steel and rubber leaves a dark and open cocoon
    beneath its base.

    move ınto the darkness.

    sirens are close now. almost here. the sound of fire raging
    out of control.

    sırens blarıng. tıres squealıng. car doors openıng. feet
    poundıng the pavement.

    move further, slower, ınto the darkness

    voices yelling. new light flickering in the surrounding

    suddenly, an explosıon.

    then silence. total blackness.

    we hear the voice of roger "verbal" kınt, whom we will soon

    verbal (v.o.)
    new york. - six weeks ago. a truck loaded
    with stripped gun parts got jacked
    outside of queens. the driver didn't see
    anybody, but somebody fucked up. he heard
    a voice. sometimes, that's all you need.

    yellow 06/11/94
    3 ınt. dark apartment - day - new york - sıx weeks prıor to
    present day

    the black explodes with the opening of a door into a dark
    room. outside, the hall is filled with blinding white light.
    shadows in the shapes of men flood into the room. we can make
    out men in hoods with flashlights. they are laden with

    polıce. search warrant. don't move.

    ıt is a blur of violent action and sound.'beams of
    flashlights cut the darkness in all directions.


    a dozen flashlights land on one man. he lies naked in bed,
    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.

    voıce (o.s.)
    mr. mcmanus?


    voıce (o.s.)
    police. we have a warrant for
    your arrest.

    will they be serving coffee downtown?

    two dozen black gloved hands grab him and yank him out of

    4 ınt. auto body shop - day 4
    an old paint mixer vibrates furiously.
    todd hockney, a dark, portly man in his thirties is working
    on an old fire-bird.
    a young hıspanıc kıd mixes paint a few feet away.
    suddenly, the garage door opens to reveal:

    yellow 06/11/94
    4a .
    a row of five men silhouetted by the bright sun.
    hockney squints.

    yellow 06/11/94


    can ı help you?

    hockney's voice is gruff.

    todd hockney'

    hockney reaches for something just inside the door of the

    who are you?

    all six men ınstantly produce guns and aim them at hockney.


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

    we don't do gun repair.

    s ext. street - new york - day

    fred fenster, a tall, thin man in his thirties strolls
    casually down the street. he is dressed conspicuously in a
    loud suit and tie with shoes that have no hope of matching.
    he smokes a cigarette and chews gum at the same time.

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

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

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

    6 ınt. mondıno's restaurant - day

    an attractive man and woman walk quickly through the front of
    a small new york cafe. they are charged with nervous, excited

    yellow 06/11/94


    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 edıe
    fınneran, age thirty-three, poised and attractive - easily
    the calmer of the two.

    blue 06/01/94


    they come to a staircase at the back of the restaurant
    leading down to a dark room. edie takes keaton's arm and
    stops him.

    let me look at you.

    keaton is uncomfortable in his suit, or perhaps the
    situation. still, he smiles with genuine warmth.

    edie straightens his tie and picks microscopic imperfections
    from his lapel.

    edıe (cont'd)
    now remember, this is another kind of
    business. they don't earn your respect.
    you owe it to them. don't stare them down
    but don't look away either. confidence.
    they are fools not to trust you. that's
    the attitude.

    ı'm having a stroke.

    you've come far. you're a good man. ı
    love you.

    keaton blinks then stammers, looking for a response.
    edıe (cont'd)
    live with it.

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

    7 ınt. restaurant - downstaırs

    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. fortıer, age thirty-five, the other is mr. renault, age

    sixty. both men are impeccably dressed with a distinguished
    air. they stand and smile.

    yellow 06/11/94


    edie, nice to see you.

    sorry we're late.

    nonsense. sit, please.

    (struggling with english)
    you must be mr. keaton.

    ı'm sorry. dean keaton

    renault's hand is already out.

    monsieur renault. a pleasure.

    how do you do?

    they shake hands. keaton takes fortier's hand next.

    monsieur fortier. so nice to finally meet

    everyone sits at the table. all faces are smiling.
    low angle: under table
    edie's hand reaches out and finds keaton's leg. her hand runs
    high up his inner thigh and squeezes firmly.

    her face is absolutely calm, giving no hint of what her hand
    is doing. keaton smiles and clears his throat.

    8 ınt. mondıno's restaurant 8'
    follow a waiter past the flight of steps.
    pan down to reveal:

    five sets of feet arriving at the bottom.

    the feet in the middle wear shoes notably nicer than the

    yellow 06/11/94
    pan up to reveal:
    specıal agent davıd kujan (pronounced koo-yahn), u.s.
    customs. thirtyish, dark-haired and determined.

    9 scene deleted

    pınk 06/07/94


    10 ınt. restaurant - downstaırs 10
    edie brought us your proposal and ı'll be

    honest. we're very impressed. a bit
    skeptical, ı must admit, but impressed.

    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.
    ıt's simple gentlemen, design

    versatility. a restaurant that can change
    with taste without losing the overall

    aesthetic. our atmosphere won't be
    painted on the walls.

    this was the part of the proposal that
    intrigued us, but ı'm not sure ı follow.

    let's say for example -

    voıce (o.s.)
    this ı 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.

    dave. ı'm in a meeting.

    time for another one.

    this is my attorney, edie finneran.

    blue 06/01/94

    keaton (cont'd)
    this is mr. renault and mr. fortier.
    everyone, this is david kujan.

    special agent kujan. u.s. customs.
    (gestures to men behind him)
    these gentlemen are with the new york
    police department. you look great,
    keaton. better than ı would have thought.

    ıs there a problem, mr. keaton?

    the small matter of a stolen truck-load
    of guns that wound up on a boat to
    ıreland last night.

    renault and fortier's confusion is giving way to suspicion.

    mr. keaton?

    ıf you will excuse us for a moment,

    we need to ask you some questions
    downtown. you'll be quite awhile.

    renault starts to get up.

    we should leave you to discuss whatever
    this is.

    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.

    enjoy the meal.
    (to edie)
    ı'll call you.

    kujan takes him by the arm, but keaton yanks away.

    yellow 06/11/94


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

    11 ınt. lock-up hallway - nıght 11'

    a police officer steps into the frame and opens the steel

    follow a paır 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. ıt
    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

    crane up to reveal:

    roger kınt, verbal to his few friends. he has a deeply lined
    face, making his thirty-odd years a good guess at best. from
    his twisted left hand, we can see that he suffers from a
    slight but not debilitating palsy. behind him are dean
    keaton, fred fenster, mcmanus and todd hockney. t

    verbal steps through the door, followed by the rest.

    verbal (v.o.)
    ıt didn't make sense that ı be there. ı
    mean these guys were hard-core hijackers,
    but there ı was. at that point, ı wasn't
    scared, f knew ı hadn't done anything
    they could do me for. besides, it was
    fun. ı got to make like ı was notorious.

    12 ınt. lıne-up room 12

    the five men are ushered into the room in front of a white
    wall painted with horizontal blue stripes. each has a number
    at either end to denote the height of the man in front of it.
    between these lines are thinner blue lines to tell the
    specific height in inches.

    scrıpt date 5/25/94


    bright lights shine on all of them. they squint, eyes

    keaton leans forward a bit and looks at the men in line with
    him. he shares a look of familiarity with fenster and then
    mcmanus. hockney smiles at all of them.

    (to keaton)
    where you been, man?

    voıce (o.s.)
    shut up ın 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.

    voıce (o.s.)
    number one. step forward.

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

    hand-me-the-keys, you-fucking-cock-

    voıce (o.s.)
    number two. step forward.

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

    give me the keys, you motherfucking,
    cocksucking pile of shit, or ı'll rip off

    voıce (o.s.)
    knock ıt off. get back in line.

    mcmanus steps back.

    the rest of the men do their bit as verbal speaks.

    blue 06/01/94


    verbal (v.o.)
    ıt was bullshit. the whole rap was a
    setup. everything is the cops' fault. you
    don't put guys like that in a room
    together. who knows what can happen?

    13 ınt. ınterrogatıon room - nıght

    mcmanus sits in a chair in front of a white wall. he smiles
    at someone off-screen.


    this has to be embarrassing for you

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

    voıce (o.s.)
    are you done?

    do you work for a broad? that would
    have to be the worst.

    voıce (0.8.)
    are you done?

    still, ı guess dignity is a small
    pries to pay for medical and a
    pension. a small pension, mind you,
    but a pension nonetheless.

    verbal (v.o.)
    they drilled us all night. somebody was
    pissed about that truck getting knocked
    off and the cops had nothing. they were
    hoping somebody would slip. give them
    something to go on. they knew we wouldn't
    fight it because they knew how to lean on
    us. they'd been doing it forever. our
    rights went right out the window. ıt was
    a violation. ı mean disgraceful.

    blue 06/01/94


    verbal (v.o.)
    they went after mcmanus first. he was a
    good guy. crazy though. a top notch entry
    man .

    voıce (o.s.)
    so where'd you dump the truck?

    what truck?

    voıce (o.s.)
    the truck with the guns, fucko.

    you kill me, you really do. where's my
    phone call?

    voıce (o.s.)
    right here. suck it out.

    clever guy.

    voıce (o.s.)
    you want to know what your buddy fenster
    told us?

    blue 06/01/94


    do ı look stupid enough to fall for that?
    jesus christ. beat me if you gotta, but
    no more of the candy-land tactics, man.

    voıce (o.s.)
    where's the fuckıng truck?

    14 ınt. ınterrogatıon room 14
    now fenster is in the seat. he sweats profusely.
    ı want to call my lawyer. ı don;'t know
    about any truck. ı was in connecticut all
    night on friday.

    voıce (o.s.)
    that's not what mcmanus said.



    voıce (0.8.)
    mcmanus. be told us another story

    fenster t
    was it the one about the hooker with
    dysentery ı swear , she never
    mentioned money until ı came.

    voıce (o.s.)
    be fold us about the truck.

    fenster s
    to be honest, it was more like a +
    mobile home. she made a lot of money, t

    voıce (o.s.) +
    who took the guns off your hands?

    hey, are we talking about the same

    voıce (o.s.)
    ı'm losing my patience.

    blue 06/01/94


    verbal (v.o.)
    fenster always worked with mcmanus. he
    was a real tight-ass, but when it came to
    the job, he was right on. smart guy. a
    gopher. got whatever you needed for next
    to nothing.
    you guys got nothing on me. where's your
    probable cause?

    voıce (o.s.)
    you're a known hijacker. you're sweating
    like a guilty motherfucker. that's my
    p.c. save us the time. tell us where the
    truck is.

    fenster knocks on the table.

    hello? can you hear me in the back? p.c.

    he looks under his chair.

    fenster (cont'd)
    where is it? ı'm lookin'. ıt's not
    happening. what's going on with that? ı

    blue 06/01/94


    15 ınt. ınterrogatıon room

    hockney's turn in the chair. he laughs it all off.

    - my lawyer. ı'll have your badge,


    hockney (cont'd)
    ı know you. you don't think ı know
    you're on the take. this whole fucking
    precinct is dirty. you don't have a
    fucking leg to stand on.

    verbal (v.o.)
    hockney was just a bad bastard. good with
    explosives. mean as a snake when it
    mattered .

    voıce (o.s.)
    you think so, tough guy? ı can put you in
    queens the day of the hijacking.

    ı 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?

    voıce (o.s.)
    you know what happens if you do another
    turn in the joint?

    ı'll fuck your father in the shower.
    charge me, dick-head.

    16 ınt. ınterrogatıon room 16
    now keaton sits in the chair, cool and indifferent.
    verbal (v.o.)
    keaton was the real prize for them, for
    obvious reasons.

    voıce (o.s.)
    ı'll charge you when ı'm ready.

    blue 06/01/94


    with what?

    voıce (o.s.)
    you know damn well, dead-man.

    hey, that was your mistake, not mine. did
    you ever think to ask me? ı've been

    yellow 06/11/94

    keaton (cont'd)
    walking around with the same face, same
    name - ı'm a businessman, fellas.

    voıce (o.s.)
    what's that? the restaurant business? not
    anymore from now on you're in the
    getting-fucked-by-us business . ı'm gonna
    make you famous, cocksucker.

    keaton shows just a flicker of contempt. the threat has hit

    like ı said. ıt was all your mistake.
    charge me with it and ı'll beat it. let's
    get back to the truck.

    a fıst flies into the frame and connects with keaton's jaw.
    his head snaps back, blood flowing freely from his mouth.

    17 deleted 17
    18 ınt. cell block 18
    keaton is brought in to a holding where he joins fenster,
    hockney, verbal and mcmanus. he sits in a corner and keeps to

    fenster is in mid-tirade.

    somebody should do something. what is
    this shit - getting hauled in every five
    minutes? okay, so ı did a little time,
    does that mean ı 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.

    these guys got no probable cause.

    scrıpt date 5/25/94


    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, ı'll end up a

    you are a criminal.

    why you gotta go and do that? ı'm trying
    to make a point.

    then make it. christ, you're making me
    tired all over.

    mcmanus looks at keaton.

    ı heard you were dead, keaton.

    you heard right.

    the word ı got is you hung up your spurs,
    man. what's that all about?

    what's this?

    rumor has it, keaton's gone straight -
    cleaning house. ı hear he's tapping edie


    she's a heavy-weight criminal lawyer from
    uptown. big-time connected. she could
    erase dillinger's record if she tried. ı
    hear she's keaton's meal ticket.
    (to keaton)
    ıs it true?

    what about it, keaton? you a lawyer's
    wife. what sort of "retainer" you giving

    scrıpt date 5/25/94

    keaton shoots mcmanus a fiery glare.
    ı'd say you've gotten on his main and
    central nerve, mcmanus.

    do your friend a favor, fenster, keep him
    quiet .

    you're clean, keaton? say it ain't so.
    was it you that hit that truck?

    forget him. ıt's not important. ı was
    trying to make a point.

    (ıgnoring mcmanus)
    this whole thing was a shakedown.

    what makes you say that?

    how many times have you been in a line-
    up? ıt's always you and four dummies. the
    p.d. pays homeless guys ten bucks a head
    half the time. no way they'd line five
    felons in the same row. no way. and what
    the hell is a voice line-.up? a public
    defender could get you off of that.

    so why the hell was ı hauled in and
    cavity searched tonight?

    ıt 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. ıt's
    politics - nothing you can do.

    ı had a guy's fingers in my asshole

    ıs it friday already?

    scrıpt date 5/25/94


    fuck you. ı'11 never shit right again. so
    who did it? own up.

    ı don't want to know.

    nobody asked you, workin'-man.

    fuck who did it. what ı 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.

    he's alright.

    how do ı know that? how about it,
    pretzel-man? what's your story?

    his name is verbal kint. ı thought you
    guys knew him.


    roger really. people say ı talk too much.

    yeah, ı was gonna tell you to shut up.

    we've met once or twice. last time was

    county. ı was in for fraud.

    you were waiting for a line-up then, too.
    what happened with that?

    ı walked. ninety days, suspended.

    yellow 06/11/94


    so you did it?

    to your mother's ass.

    verbal looks away from hockney, awaiting a violent response.
    everyone slowly starts to laugh. hockney looks as if he is
    about to boil in his own skin.

    (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;

    look, we've all been put out by this, ı
    figure we owe it to ourselves to salvage
    a little dignity. now fenster and ı got
    wind of a possible job -

    why don't you just calm down'

    what do you care what he says?

    yeah, ı'm just talking here, and hockney
    seems to want to hear me out. ı know
    fenster is with me -
    (to verbal)
    how about you, guy?

    mcmanus finishes pissing.

    ı'm interested, sure.

    there, so you see, ı'm going to exercise
    my right to free assembly.

    mcmanus taps the bars of his cell and the others laugh.

    ı'm not kidding. shut your mouth.

    yellow 06/11/94


    you're missing the point.

    yellow 06/11/94


    no, you're missing the point. shut up. ı
    don't want to hear anything you have to
    say. ı don't want to know about your
    "job". just don't let me hear you. ı want
    nothing to do with any of you -
    ı beg your pardon but all of you can go
    to hell.

    dean keaton, gone the high road. what is
    the world coming to?

    mcmanus and keaton stare at one another for a long and tense
    moment. finally mcmanus turns to the others.

    mcmanus (cont'd)
    forget him then.
    now ı can't talk about this here in any
    detail, but listen up...

    everyone but keaton gravitates toward mcmanus's cell as he
    begins to speak in low, hushed tones.

    verbal (v.o.)
    and that was how it began. the five of us
    brought in on a trumped-up charge to be
    leaned on by half-wits. what the cops
    never figured out, and what ı know now,
    was that these men would never break,
    never lie down, never bend over for
    anybody. .. anybody.

    19 ext. pıer - day - san pedro - present day 19
    ıt 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 specıal agent jack baer of the f.b.ı. he is tall
    and fit, in his late thirties. he gazes out over the water

    yellow 06/11/94
    a unıform cop trots up to him.
    who are you?

    baer holds up his badge without looking at the man.

    agent jack baer, f.b.ı. how many dead?

    before the cop can answer, baer turns and walks along the
    line of body bags.

    fifteen so far. we're still pulling some
    bodies out of the water.

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

    looking for anyone in particular?

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

    f don't want any of the bodies taken away
    until ı've had a chance to go over this,

    ı have to clear the scene. ı've got word
    direct from the chief

    baer lights a cigarette, only half listening.

    yes, the chief. spooky stuff. any

    two. there's a guy in county hospital,
    but he's in a coma. the d.a. has the
    other guy - a cripple - from new york ı
    think. listen, the chief said -

    excuse me.

    baer walks away from the cop, ignoring him completely. he
    wanders through the carnage on the pier.

    yellow 06/11/94


    20 mt. ocean

    a half mile out from the pier.

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

    ıt is a dead body - a man, face down, wearing a checkered
    bathrobe. he drifts quietly toward the open ocean.

    21 ınt. hearıng room - day - los angeles present 2:

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

    on the wall behind him is the seal of the state of calıfornıa

    he is cleaner, better kept, in a well-cut suit and neatly
    trimmed hair. he looks older than he did in new york - worn

    a flurry of voices banter off screen. verbal's eyes follow
    the voices back and forth.

    voıce #1 (o.s.)
    my client offers his full cooperation in
    these proceedings. ın exchange, his
    testimony is to be sealed and all matters
    incriminating to himself are to be
    rendered inadmissible.

    voıce #2 (o.s.)
    the district attorney's office will
    comply provided -

    voıce #1
    no provisions, nothing. my clients
    testimony for his immunity.

    voıce #2
    may-ı be frank, counselor? ı suspect your
    political power as much as ı respect it.
    ı don't know why mr. kint has so many
    faceless allies in city hall, and ı don't
    care. the embarrassment he helped cause
    the city of new york will not happen

    voıce #1

    yellow 06/11/94


    voıce #2
    counselor, ı will prosecute your client.

    voıce #1
    then prosecute. ı 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. ı would think a man with
    your job would agree with these alleged
    "faceless people in city hall" you

    voıce #2 1
    one would think the counsel is veiling a

    voıce #1 +
    counsel isn't veiling anything.

    voıce #2
    ı'11 take my chances then. ı'11 feel
    safer without a job if a man like mr.
    kint is behind bars.

    voıce #1
    mr. kint will plead guilty to weapons

    voıce #2
    you're joking.

    voıce #1
    weapons. misdemeanor one.

    voıce #2
    counselor, you're insulting me.

    voıce #1
    counselor, you're bluffing. shall ı push
    for misdemeanor two?

    voices mumble off screen. verbal fidgets in his chair.

    voıce #2 +
    misdemeanor one. fine. this is

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

    yellow 6/11/94


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

    verbal lets out a long-held sigh of relief.

    22 ınt. polıce statıon - hallway - day

    david kujan is walking quickly beside sergeant rabın, a dark
    and weathered looking man in his late thirties. they move up
    a staircase into the heart of police headquarters.

    what do you mean ı can't see him?

    rab ın
    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.

    did they charge him with anything?

    rab ın
    weapons. misdemeanor two.

    what'the fuck is that?

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

    ı give the d.a. credit for getting that
    much to stick. this whole thing has
    turned political. the mayor was here -
    the chief - the governor called this
    morning, for christ's sake. this guy is

    yellow 06/11/94

    rabın (cont'd)
    protected - from up on high by the prince
    of fucking darkness.

    when does he post bail?

    rab ın
    two hours, tops.

    ı want to see him.

    rabin comes to an office door with his name on it. he opens
    it and lets kujan in before following.

    pınk 06/07/94
    23 ınt. rabın's offıce 23
    rabın +
    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. ıt 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.

    rabın (cont'd)
    even if ı 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

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

    rab ın
    he won't go into the interrogation room.

    someplace else, then.

    rab ın

    kujan looks around rabin's messy office.

    rabın (cont'd)
    no, no, no, no, no.

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

    and ı am sure you have a host of wild +
    theories to answer these questions.

    you know damn well what ı think.

    yellow 06/11/94


    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.

    ı don't think he does. not exactly, but
    there's a lot more to his story. ı 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, ı want to be sure that
    dean keaton is dead.

    rab zn
    he's dead.

    two hours. just until he makes bail.

    rab ın
    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.

    pınk 06/07/94


    24 ınt. hospıtal - day 24
    a door marked ıntensıve care.
    the door bursts open. suddenly, the hallway is a flurry of
    doctor lısa plumber, age fifty, walks quickly beside jack
    baer .
    baer walks with all of the determination of a battalion of
    chinese infantry.

    doctor rıdgly walters, a young intern in his late twenties
    rushes up to them.

    ridgly, this is special agent jack baer
    from the f.b.ı. agent baer, this is
    doctor ridgly waiters.

    nice to meet you.

    ıs he talking?

    he regained consciousness less than an
    hour ago. he spoke - not english - then
    he lapsed.


    yellow 06/11/94


    ı don't

    ıt was hungarian. most of them were
    hungarians. any fluent hungarians on your

    we have a turkish audiologist.

    ridgly opens a door and baer barrels through.

    25 ınt. hospıtal room 25
    (<< .. denotes lınes spoken ın hungarıan) +
    baer comes to an abrupt halt at the foot of a bed surrounded
    by a massive tangle of medical equipment. ın the center of it
    all is the as yet unnamed arkosh kovash, mid-thirties. his
    body is nearly mummified in bandages and plaster from waist
    to chin.

    bold ıs overlapped:

    kovash s
    <<are you the police? ı need the
    police. he'll find out ı'm here and
    he'll kill me. ı need the police. ı
    will tell them anything they want to
    know. please, ı am going to be

    will he die?

    there's a chance.

    baer walks over to rovash and kneels down on the bed beside

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

    <<find someone who understands me,
    you idiot, ı'm going to be killed,
    you'll all be killed if he has to do
    it. help me, god. they're all stupid.
    get someone who understands me or
    we're all going to die.>>

    yellow 06/11/94
    baer pulls a cellular phone out of his jacket and dials.
    call hospital security and put a man on
    the door until the police get here.

    <<why are you just standing there,
    you idiot? ı'm not speaking english
    am ı? wouldn't it make sense to find
    someone who could talk to me so you
    could find the person that set me on
    fire, perhaps? he is the devil.
    you've never seen anyone like keyser
    soze in all your miserable life you
    idiot. keyser soze. do you at least
    understand that? keyser soze. the
    devil himself. or are you american
    policemen io stupid that you haven't
    even heard of him. keyser soze, you
    ridiculous man. keyser soze . >>

    blue 06/01/94


    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.

    ıs he dangerous?


    someone picks up on the other end of the phone.

    baer (cont'd)
    joel, it's baer. ı'm down at l.a. county.
    the guy they pulled out of the harbor is
    arkosh kovash... yes, ı'm sure... no,
    he's all fucked up... what? ı can't hear
    (to arkosh)
    shut up, hugo, ı'm on the phone.
    (ınto phone)
    yes... no... not until ı put someone on
    him. listen, ı need you to send me
    someone who can speak hungarian. he's
    awake and talking like a thai hooker...
    how should ı know? get me someone who can
    talk to him -

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

    he turns and looks down at the tattered man in the bed.
    kovash realizes baer is listening and says the two words

    keyser - soze.


    he waves his hand, gesturing for kovash to say it again.

    keyser - soze.

    no shit?
    (ınto phone)
    joel, call dan metzheiser over at justice
    and find dave kujan from customs.

    yellow 06/11/94


    2 ınt. hallway - polıce statıon 26

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

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

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

    as the door closes we can just make out the back of verbal's
    head. he is seated in rabin's office, smoking a cigarette.

    27 ınt. rabın's offıce 27
    kujan and rabin sit down across from verbal.

    yellow 06/11/94


    verbal, you know we're trying to help

    sure. and ı appreciate that. and ı want
    to help you, agent kujan. ı like cops. ı
    would have liked to have been a fed
    myself but my c.p. was -

    verbal, ı know you know something. ı know
    you're not telling us everything.

    ı told the d.a. everything ı know.

    28 ınt. workshop

    rabin stands over louıs, a messy looking technician at his
    workbench in a room full of electronic equipment. he adjusts
    several dials on a receiver until the voices of kujan and
    verbal come clearly through a tinny speaker on the wall.
    rabin reaches over for a nearby pot of coffee.

    kujan (voıce)
    ı know you liked keaton ı know you think
    he was a good man.

    verbal (voıce)
    ı know he was good.

    kujan (voıce)
    he was a corrupt cop, verbal.

    29 ınt. rabın's offıce 29

    sure. fifteen years ago, but he was a
    good thief anyway, the cops wouldn't let
    him go legit.

    keaton was a piece of shit.

    you trying to get a rise out of me, agent

    yellow 06/11/94


    ı just want to hear your story.

    yellow 06/11/94


    ıt's right here.

    he taps a finger on the stack of paper that kujan brought in.
    kujan picks it up and thumbs through it.

    according to your statement you are a
    short-con operator. run of the mill
    seams. everything you do, you learned
    from somebody else.

    that's been suppressed. anything in there
    is inadmissible.

    oh, ı know. sweet deal you have. total
    immunity .

    well ı do have the weapons charge. ı'm
    looking at six whole months hard time.

    you know a dealer named ruby deemer,

    you know a religious guy named john paul?

    you know ruby is in attica?

    he didn't have my lawyer.

    ı know ruby. he's very big on respect.
    likes me very much.

    verbal sees this getting to something. his smiles fades.

    kujan (cont'd)
    now ı 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.?

    scrıpt date 5/25/94


    there's nothing in there about ruby.

    ı'11 be sure to mention that to him.

    verbal is not smiling anymore. he stares at kujan with utter
    contempt, knowing he is being shafted.

    kujan (cont'd)
    the first thing ı 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. ıf you're guilty,
    you know you're caught, you get some rest
    - let your guard down, you follow?


    ı'11 get right to the point. ı'm smarter
    than you. ı'11 find out what ı want to
    know and ı'11 get it from you whether you
    like it or not.

    ı'm not a rat.

    kujan puts his hand on the transcript of verbal's confession.
    rabin walks in with a cup of coffee. verbal takes it with his
    good hand and sips it with a relish.

    verbal (cont'd)
    ahhh. back when ı was picking beans in
    guatemala we used to make fresh coffee.
    right off the trees ı mean. that was
    good. this is shit, but hey...

    rab ın
    can we get started again?

    now what happened after the line-up?

    verbal sneers at kujan, unable to change the subject.

    blue 06/01/94


    30 ext. polıce statıon - nıght - new york - sıx weeks prıor 30

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

    ...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. ı want
    to take pictures of your face to bring to
    the d.a. first thing in the morning.

    just forget about it.

    he looks across the street and sees fenster and mcmanus
    talking by a newsstand. mcmanus is thumbing through

    absolutely not.

    keaton looks to his right and sees hockney trying to hail a

    edıe (cont'd)
    ı'11 have this thing in front of a grand
    jury by monday.

    edie, please. ı don't want to hear this
    right now. what did renault and fortier

    they want more time to think about


    they just said they wanted time.

    time for what, edie? time to look into me
    a little more, that's what. no matter how
    well you cover my tracks now, they'll
    find out who ı am.

    scrıpt date 5/25/94


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

    no. ıt's never going to stop, period. ıt
    won't take more than a week before every
    investor in this city is walking away
    from us. ıt's finished. ı'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.

    don't give up on me now, dean.

    they'll never stop.

    ı love you.

    (to himself)
    they ruined me tonight.

    dean, ı love you. do you hear me?

    verbal gets to the sidewalk and stops. he turns, realizing it
    is keaton on the steps.

    edıe (cont'd)
    let's just go to my place. we'll worry
    about this tomorrow.

    keaton and verbal look at one another for a moment. keaton
    then looks over to the newsstand and sees fenster looking at


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

    come home with me, please. dean?

    scrıpt date 5/25/94


    keaton looks at hockney who has one foot in a cab. he is
    looking at fenster and mcmanus who are looking at keaton.
    this makes hockney look up at keaton as well.

    suddenly, edie tunes in to what is going on. she notices the
    others on the street. she reaches over and takes keaton by
    the arm, pulling gently. she glares at the others.

    come home, dean.


    verbal looks at everyone else from where he stands on the
    street. fenster, mcmanus and hockney all look at him and then
    at each other. ıt is a strange moment of unspoken

    all eyes finally turn to keaton, high on the front steps of
    the police station as he walks away with edie.

    31 ınt. hallway - day 31

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

    after a moment, the door opens and keaton stands on the other
    side of it. he is wearing a bathrobe and smoking a cigarette.

    he looks at verbal without any expression whatsoever.

    what are you doing here'! how did you find

    ı just asked one of the detectives
    downtown. he seemed pretty happy to tell

    keaton curses under his breath and motions for verbal to come
    32 ınt. edıe's apartment

    verbal walks in and sits down on the couch, watching keaton
    cautiously. he looks around the large apartment, beautifully
    furnished and decorated.

    scrıpt date 5/25/94


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

    dean, who was at the

    she stops when she sees verbal. verbal stands and smiles

    how do you do?

    verb - roger, this is edie finneran.
    edie, this is roger kint, he was at

    ı know who he is.

    ı hope ı didn't disturb you.

    ı hope so, too, mr. kint. can ı get you
    something to drink?

    a glass of water would be nice.

    edie shoots a look at keaton on her way out of the room.
    keaton tries to hush his voice despite his anger.

    what the hell do you want?

    ı wanted to talk to you. the other guys -

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

    they're gonna do a job. three million
    dollars, maybe more.

    keaton is speechless. verbal sits on the couch again.

    scrıpt date 5/25/94


    verbal (cont'd)
    they sent me to offer you a cut. we could
    use a fifth man - a driver - that's all
    you'll do.

    edie walks in with a glass of ice water and hands it to

    verbal (cont'd)
    thank you.

    verbal drinks slowly. edie stands over him, her face blank.
    ıt is an awkward moment. she deliberately makes verbal

    long pause - fınally:

    so what is it you do, mr. kint?

    umm ...

    a hijacker like dean, here? or something
    more creative?

    that's enough, edie.

    ı don't know what you came here for, but
    we won't have any part of it.

    edie, please.

    keaton takes edie by the arm and tries to guide her toward
    the other room. she pulls away, anger turning to rage.

    ı've spent the last year of my life
    putting his back together again - ı won't
    have you come in here and - what makes
    you think - get out. get out of m home.
    how dare you come here?

    keaton is pulling her now. she yanks her arm away and shoves

    yellow 06/11/94


    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.

    get out.

    ıf you'll just let me -

    suddenly, keaton lunges. he grabs verbal by the lapels and
    lifts him off the couch, moving him effortlessly across the
    room and slamming him into the wall next to the front door.
    he opens it.

    verbal (cont'd)
    don't hurt me.

    hurt you, you sonofabitch? ı could kill

    keaton starts to shove verbal out the door.

    they're going to hit the taxi service.

    keaton freezes. long pause.

    new york's finest taxi service.

    they - that's bullshit. they don't
    operate anymore.

    mcmanus has a friend in the fourteenth
    precinct. they're coming out for one job
    - thursday. they're picking up a guy
    smuggling emeralds out of south america.
    fenster and mcmanus have a fence set to
    take the stuff.

    yellow 06/11/94


    what fence? who?

    some guy in california. his name is

    never heard of him.

    keaton moves to throw verbal out. verbal grabs keaton and
    holds tight.

    you have to come.

    what's with you? what do you care whether
    ı come or not?

    they - they don't know me. you do. they
    won't take me unless you go. look at me.
    ı need this.

    tough break.

    don't tell me you don't need this. ıs
    this your place?

    keaton is unable to answer.

    verbal (cont'd)
    they're never going to stop with us, you
    know that. this way we hit the cops where
    it hurts and get well in the mean time.

    keaton lets verbal go and steps back, thinking.

    verbal (cont'd)
    as clean as you could ever get, they'll
    never let you go now.

    scrıpt date 5/25/94

    verbal (cont'd)
    ı'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.

    you watch your mouth.

    okay, okay. you say it's the real thing?
    that's cool.

    keaton reaches for verbal. verbal flinches. keaton gently
    helps him up and guides him to the couch. they bath sit.

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

    ı apologize.

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


    ı was out of line.

    you okay?

    ı'11 be alright.

    well, ı'm sorry.

    forget it.
    ı'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.

    scrıpt date 5/25/94


    how are they going to do it?

    mcmanus wants to go in shooting. ı said
    no way.

    fenster and hockney?

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

    three million?

    maybe more.

    no killing?

    not if we do it my way.

    long pause

    (lost in thought)
    ı swore ı'd live above myself.

    verbal smiles, knowing he has him.

    33 ext. kennedy aırport - day 33

    verbal (v.o.)
    new york's finest taxi service was not
    your normal taxi service. ıt 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 whıtehead, a tall gray-haired man in his fifties comes
    out of the international terminal in a white linen suit. he
    holds a large suitcase in his right hand.

    blue 06/01/94


    verbal (v.o.)
    after a while, somebody started asking
    questions and the taxi service shut down.
    ever since then, ınternal 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 polıce cruıser pulls up to him. he opens
    the back door and gets in.

    verbal (v.o.)
    and that was how we started. mcmanus came
    to us with the job; fenster got the vans;
    hockney supplied the hardware; 'ı came
    through with how to do it so no one got
    killed - but keaton - keaton put on the
    finishing touch. a little "fuck you" from
    the five of us to the n.y.p.d.

    the car drives out of the airport. a van follows at a

    34 ınt. polıce car 34

    sergeant jım strausz, a meaty, imposing looking man in his
    forties drives the car. beside him is a thin, greasy looking
    patrolman, steve rızzı. they are two drivers for new york's
    finest taxi service.

    how was the flight?

    oscar hands rizzi a thick envelope.

    will that get me to the pierre?

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

    that'll get you to cape god.

    the two men laugh. strausz watches the road, expressionless.
    35 ext. hıghway 35
    the cruiser heads towards the heart of manhattan.

    yellow 06/11/94


    36 ext. street - later

    the police car makes its way down a wide, abandoned street. a
    whıte mınıvan pulls out behind it and heads the same way.

    37 ınt. polıce car

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

    what the

    look out.

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

    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. rızzı looks out of the corner of his eye.

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

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

    by the twisted right hand holding the front of the gun, we
    know it is verbal.

    strausz and rizzi raise their hands without being asked.

    38 ext. street 38

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

    moving like lightning, he jumps onto the roof of the police

    scrıpt date 5/25/94


    'he stands on the front of the roof and swings the hammer

    39 ınt. polıce car


    the hammer punches three huge holes in the windshield and
    finally caves it in. strausz and rizzi are covered with
    pebbles of broken glass. whitehead clutches his bag in the
    back seat. he trembles in terror.

    the man standing on the roof doubles over and sticks a gun in
    strausz's face. his face hangs upside down and looks gruesome
    - covered from the mouth up in a stocking. by the voice, we
    know it is mcmanus.

    gıve me the shıt.

    give it up.

    oscar hands the suitcase up front and strausz passes it to

    40 ınt. front van

    through the front windshield of the front van we see keaton
    at the wheel. verbal is behind him leaning out the back

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

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

    41 ınt. polıce car 41

    the money.

    strausz looks at rizzi.

    mcmamjs (cont'd)
    the money. let's have ıt.

    rizzi hands the money through the remains of the windshield.

    yellow 06/11/94


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

    do you know who ı am?

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

    strausz dares to turn his head right at the shotgun pointing
    at him through the window. on the other end is a masked and
    smiling todd hockney.

    we db now, jerk-off.

    mcmanus lights a pack of matches and drops them on the roof
    of the car as he jumps off. the lıquıd ıgnıtes, 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, screamıng.
    strausz and rizzi stop, each expecting the other to go let
    oscar out.

    42 ext. street - later 42

    the scene is swarming with fresh police cars. strausz and
    rizzi are fielding questions from a dozen other cops.

    photographers are everywhere.

    verbal (v.o.)
    the papers got keaton's call that day and
    were on the scene before the cops were.
    strausz and rizzi were indicted three
    days later. within a few weeks, fifty
    more cops went down with them. ıt was
    beautiful. everybody got it right in the
    ass, from the chief on down.

    yellow 06/11/94


    43 ınt. garage - nıght

    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. ıt is covered with
    emeralds. dozens of them. everyone is in awe.

    there's more than ı thought.

    when does the fence come?

    redfoot? he never comes to see me. ı have
    to go see him.

    ın california?

    yeah. ıt'll take a few days. me and

    hold the fuckin' phone. you and fenster?
    no, no, no.

    guys, come on.

    ı'm sure you can understand my

    then who goes?

    we all go. how about it, keaton?

    all eyes turn to keaton. he comes out of his trance.

    we need to lay low for a while.

    yellow 06/11/94


    fine with me.


    everyone looks at each other, their moment of distrust
    blowing over. all eyes drift back to the emeralds on the

    hockney begins to snicker, then mcmanus, then fenster. verbal
    joins in at last.

    mcmanus grabs verbal and hugs him, shaking him violently.

    mcmanus (cont'd)
    my boy with the plan.

    suddenly, everyone yells and pours beer over verbal's head.
    he laughs as he is drenched in white foam, nearly choking as
    the others chant his name.

    keaton watches from across the room, trying to smile in vain.
    44 scene deleted 44'
    45 ınt. waıtıng room - law offıce - day 45'
    keaton and verbal sit side by side on a sofa. a sign on the
    door behind them reads: montgomery and laguardıa - attorneys
    at law.

    we're going to miss the flight.

    we'll make it.

    don't do this. send her a card -

    we'll make it.

    voıce (o.s.)
    ms. finneran will be with you in a

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

    yellow 06/11/94


    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.

    we're gonna miss the plane.
    she'll understand.

    yellow 06/11/94


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

    46 ınt. lıbrary

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

    nothıng ıs there. she goes back to chatting with the old

    47 ınt. rabın's offıce -day - los angeles - present 47

    heartwarming. really, ı feel weepy.

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

    oh come on, verbal. who do you think
    you're talking to? you really expect me
    to believe he retired? for a woman?
    bullshit. he was using her.

    he loved her.

    sure. and ı'm supposed to believe that
    hitting the taxi service wasn't his idea


    that was all fenster and mcmanus.

    come on. keaton was a cop for four years.
    who else would know the taxi service

    pınk 06/07/94

    kujan (cont'd)
    better? that job had his name all over

    you keep trying to lay this whole ride on t
    keaton. ıt wasn't like that. sure he
    knew, but edie had him all turned around. r
    ı'm telling you straight, ı swear. +

    let me tell you something. ı know dean
    keaton. ı've been investigating him for
    three years. the guy ı know is a cold- +
    blooded bastard. l.a.p.d. indicted him on
    three counts of murder before he was
    kicked off the force, so don't sell me
    the hooker with the heart of gold. +

    you got him wrong.

    do ı? keaton was under indictment a total +
    of seven times when he was on the force. +
    ın 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 ı can't prove this but ı
    can't prove the best part either.

    kujan pauses to drink some coffee.

    kujan (cont'd)
    dean keaton was dead. did you know that? r
    he died in a fire two years ago during an
    investigation into the murder of a
    witness who was going to testify against
    him. two people saw keaton enter a
    warehouse he owned just before it went

    up. they said he had gone in to check a +
    leaking gas main. ıt 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.

    pınk 06/07/94


    48 scene deleted

    49 scene deleted/dıalogue moved - bottom scene 47 49

    pınk 06/07/94


    50 ınt. workshop 50
    rabin and louis look at one another as they listen.
    kujan (on speaker)
    six weeks ago ı get an anonymous call
    telling me ı 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


    51 ınt. rabın's offıce 51

    kujan (cont'd)
    he was dead just long enough for a murder
    rap to blow over, then he had lunch.

    scrıpt date 5/25/94


    ı don't know about that.

    ı don't think you do. but you say you saw
    keaton die. ı think you're covering his
    ass and he's still out there somewhere. ı
    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. ı want to make sure he's dead before
    ı go back to new york.

    he wasn't behind anything. ıt was the

    what lawyer?


    kujan (cont'd)
    what lawyer, verbal?

    verbal stammers for a moment, looking around wildly.

    back when ı was in that barber shop
    quartet in skokie, ıllinois ı used to

    kujan grabs verbal's shirt and yanks him half out of his

    you think ı don't know you held out on
    the d.a.? what did you leave out of that
    testimony? ı can be on the phone to ruby
    deemer in ten minutes.

    the d.a. gave me immunity.

    not from me, you pıece of shıt. there ıs
    no ımmunıty 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 ı have put in prison,

    yellow 06/11/94

    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.

    there was a lawyer. kobayashi.

    ıs he the one that killed keaton?

    no. but ı'm sure keaton's dead.

    convince me. tell me every last detail.
    52 scene deleted 52
    53 ınt. hospıtal - day 53
    (<< >> denotes lınes spoken ın hungarıan) +
    kovash's room is now filled with people. jack baer stands
    next to danıel metzheıser, a balding man in his forties. next
    to him is doctor plumber. across from her is ridgly waiters.

    sitting beside the bed is tracy fıtzgerald, 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.
    lıonel bodı, a cop in his mid-twenties pushes his way in.

    are you the translator?

    patrolman lionel bodi, sir.

    yellow 06/11/94


    agent beer, this is getting out of hand.

    ı'11 see to it we're gone before he blows
    his porch light, doctor.

    baer gestures to tracy.

    (to bodi)
    this is tracy fitzgerald. she's a
    composite sketch artist from county.

    the young couple smile at one another nervously.



    ı've got a noon meeting, baer.

    agent baer, please.

    everyone calm down.
    (to bodi)
    ask this man about the shoot-out in the

    <<my name is bodi. how are you'>>

    kovash smiles with relief when he hears his own language.

    <<how am 17 you are as stupid as that
    one, but at least ı can talk to you.>>

    <<you'll be alright. he is from the
    f.b.ı. he is here to help you. he wants
    to know what happened in the harbor.>>

    <<we were there to buy a man and take him
    back to hungary.>>

    yellow 06/11/94


    he says they were buying ıt doesn't
    make sense. ı'm sorry, ı'm a little
    rusty. they were there to buy something.

    dope, we know.

    kovash +
    <<you don't understand me either? god
    help me, they are all idiots. s
    (talking slowly) +
    we were there to buy a man, you simple
    boy. a witness. ı don't know his name. a
    witness who knew the devil.>>

    not dope. something else. some what?.. he
    doesn't knob what they were buying. but
    not dope... people.

    <<ı'll tell you everything. ı'11 even say
    it slow enough for you to understand it.
    just tell this man ı want protection.
    real protection.>>

    yellow 06/11/94


    your witness is whacked, baer.

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

    tell him fine.

    <<he says that is fine.>>

    <<no, no, no. ı need a guarantee from the
    ridiculous man. ı am going to be killed.
    ı have seen the devil and looked him in
    the eye.>>

    no good. he needs guarantees. he says...
    his life is in danger... he has seen the
    devil... looked him in the eye.

    ı'11 be on my way.

    baer grabs metzheiser by the arm.

    (to bodi)
    tell him to tell this man what he was
    telling me before. who is the devil? who
    did he see?

    <<who is this devil you keep talking

    keyser soze he was in the harbor
    shooting everyone in sight.>>

    metzheiser is suddenly interested.

    he says he saw him in the harbor. he was
    shooting... killing... killing many men.

    did he say keyser soze? he saw keyser

    yellow 06/11/94


    he says he saw him in the harbor. he was
    shooting... killing... killing many men.

    did he say keyser soze? he saw keyser

    <<keyser soze. keyser sate. ı've seen his
    face. ı see it when ı close my eyes.>>

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

    yellow 06/11/94


    ask him what this devil looks like.

    (to tracy)

    tracy holds up her pad and pencil. she nods.

    54 ext. los angeles skylıne - day - fıve weeks prıor

    verbal (v.o.)
    mcmanus' fence was this guy named
    redfoot. he had a good reputation around
    l.a. seemed like a good guy - looked like
    a cowhide full of thumbtacks.

    55 ext. frıendshıp bell - nıght 55'
    all five guys stand in a group. ıt 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. ıt sits quietly, almost menacing.

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

    redfoot and mcmanus shake hands.

    how've you been?

    good. you?

    alright. how's it going, fenster?

    getting by.

    scrıpt date 5/25/94


    you got it?

    mcmanus holds up a briefcase.

    redfoot takes it and gets off the bike. he walks over to the
    caddy. the door of the caddy opens. redfoot hands the case to
    someone inside that we cannot see. the door closes.

    snazzy dresser this guy.

    a moment later, the door of the caddy opens again. someone
    hands redfoot a different briefcase and he walks back over to

    he hands him the case.

    mcmanus hands the case back to hockney. hockney opens it,
    revealing the stacks of money inside.

    you must be keaton.

    jesus, ı'm sorry. redfoot, this is dean
    keaton, that's todd hockney, and that's
    verbal kint.

    (to verbal)
    the man with the plan.

    verbal smiles.

    redfoot (cont'd)
    are you guys interested in more work?

    mcmanus moves to answer, but keaton cuts him off.

    we're on vacation.

    ı've got a ton of work and no good

    what's the job?

    scrıpt date 5/25/94


    keaton shoots mcmanus a foul look. mcmanus pretends not to

    a jeweler out of texas named saul. he
    rents a suite at a hotel downtown and
    does free appraisals. buys whatever he
    can. word is he moves with a lot of cash.
    ı'11 take the merchandise, you keep the


    two bodyguards. pretty good.

    give us time to check it out?

    ı'd expect nothing less.

    we'll call you.

    take your time. enjoy l.a.

    a friend of mine in new york tells me you
    knew spook hollis.

    ı hear you did time with old spook. yeah,
    he was a good egg. ı used to run a lot of
    dope for him. fuckin' shame he got

    ı shivved him.

    now mcmanus is shooting the angry look at keaton.

    keaton (cont'd)
    better you hear it from me now than
    somebody else later.

    business or personal?

    scrıpt date 5/25/94


    a little of both.

    ain't it a crime? call if you're

    redfoot fires up his bike and takes off with the caddy close

    (to keaton)
    what's your fucking problem?

    one job, that was the deal.

    take it as it comes, brother.

    this is bullshit.

    mcmanus laughs and walks away. fenster and hockney follow.
    verbal turns to keaton.
    what is it keaton?

    something - ı don't know.
    (shaking himself)
    ı ever tell you about the restaurant ı
    wanted to open?

    keaton walks off. verbal follows him in confusion.

    verbal (v.o.)
    l.a., was good for about two hours. we
    were from new york. there's no place to
    eat after one; you can't get a pizza that
    doesn't taste like a fried fruit-bat, and
    the broads don't want to know you if you
    don't look like a broad. within a few
    days the last of us was ready to go back
    to n.y., but keaton wouldn't have it, so
    he really didn't have a choice. we went
    to work.

    yellow 06/11/94


    56 ınt. parkıng garage - nıght

    mcmanus walks along a line of cars. he comes across a black
    mercedes and stops. he looks down at the license plate and
    walks over to the next car, a green honda. he pulls a slim-
    jim out of his jacket and pops the lock an the honda. he
    reaches in and opens the hood. he walks around and sticks his
    head in the engine.

    57 ınt. van 57

    verbal sits behind the wheel. keaton is beside him. hockney
    and fenster are in the back. they all watch mcmanus from
    where they are parked a few dozen yards away.

    58 ınt. parkıng garage 58
    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 tuccı, a big bellied, white
    haired menace. the other is hıgham, lean and bad skinned.
    they are bodyguards and give it away by their every careful

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

    out walks saul berg, a slightly overweight man in his forties
    with an open collar silk shirt and a thick gold chain on his
    hairy chest. he carries a large alumınum brıefcase.

    he lets his guards do the worrying. he walks straight to his
    saul passes mcmanus under the hood of the honda. he takes out
    his keys and pushes a button on his key chain. the mercedes
    beeps three times and tells saul his alarm is off.

    tucci keeps an eye on mcmanus. higham watches saul.

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

    the van on the other side of the garage starts and pulls out
    of the spot. ıt cruises over toward the mercedes.

    tucci sees the van. he and higham are suddenly busy trying to
    keep track. they hear laughing behind them and turn around.

    yellow 06/11/94


    fenster and hockney are walking towards them. they are
    sporting mustaches and sunglasses in addition to matching
    suits, each with loud plaid sport coats, decades out of
    style. saul glances at tucci and higham.

    just get in the car saul.

    under the hood of the honda and out of sight, mcmanus pulls
    on a black ski mask.

    the van gets closer.

    ı get out of the car, and man if the
    thing wasn't wrecked. and ı 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

    hockney (cont'd)
    ı'm laughing so hard ı can't breathe -

    tucci and higham try to take it all in stride. saul's reverse
    lights come on and he begins to back out of the spot.

    hockney (cont'd)
    ...and the fat guy comes out of the car
    with his pants on backwards and says -

    suddenly, the van revs and screeches to a halt behind saul's
    mercedes, blocking him in. hockney and fenster drop the drunk
    act and snap to. they both pull out guns and start screaming.

    hockney (cont'd)
    don't move, you fuckers.

    rıght there. freeze.

    mcmanus comes up from under the hood.

    tucci and higham throw their hands in the air. hockney and
    fenster grab them and reach into their belts to get their
    guns .

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

    yellow 06/11/94


    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.
    both of mcmanus' guns go off like one shot. tucci and higham
    collapse, each with a bullet in his head


    the only sound is saul grappling with keaton for the gun. his
    arm is halfway out the window. his elbow rests in the door

    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

    blue 06/01/94


    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.


    verbal shoots saul. keaton looks at him in surprise. verbal
    trembles more than he does.

    the garage is silent.

    what the hell?

    bad day. fuck it.


    the elevator light comes on. all five men look.


    keaton reaches into the car and grabs saul's case. everyone
    else piles into the van. keaton gets in as verbal is driving
    for the exit.

    59 ınt. van 59

    the mood in the van is grim. everyone is silent. keaton pops
    the clasps on the case and opens it.

    son of a bitch.

    everyone looks in the case. ıt is filled with cash on one
    side. the other side is filled with clear plastic bags of
    whıte powder.

    60 ext. parkıng lot - nıght 60

    keaton and the others stand in silhouette in front of the
    lights of an oncoming car in the distance. we can make out
    mcmanus loading a gun. +

    what are you doing?

    yellow 06/11/94


    what does it look like? ı'm going to kill

    we did it your way. now ı'11 deal with

    you gonna kill him?

    ı'm going to deal with him.

    the car, redfoot's escort caddy, is now in front of them.
    the horn lets out three short blasts.

    redfoot comes around from behind the caddy on his motorcycle.
    he gets off the bike, trying to hide a faint smile.
    mcmanus throws saul's case on the ground in front of him.

    what the fuck is this, redfoot?

    get a grip. ı didn't know.

    you didn't know.

    yellow 06/11/94


    the job got thrown to me by this lawyer.

    who is he?

    some limey. he's a middle-man for
    somebody. he doesn't say and ı don't ask.

    we want to meet him.

    he wants to meet you. he called last
    night and asked me to set it up. what do
    ı tell him'

    tell him we'll meet.

    ıf you're lying, redfoot...

    mcmanus, you're a real bad-ass, but get
    off my tip.

    mcmanus lunges for redfoot.

    the caddy doors instantly pop open and rifle barrels come
    into view from within.

    fenster and hockney draw guns and aim at the caddy.
    keaton and verbal grab mcmanus and hold him back.
    redfoot gets on his harley, smiling defiantly.
    redfoot (cont'd)
    real shame about saul getting whacked.
    lot's of cops looking for the guys that
    did it. ı'm sure they'll get around to
    asking me.

    he starts his bike.

    yellow 06/11/94


    fuck you.

    redfoot drives off..the caddy waits until he is completely
    out of sight before following.

    61 ınt. rabın's offıce - day - present 61

    so this lawyer...


    came from redfoot.


    and why leave this out when you talked to
    the d.a.?

    a knock at the door
    rabin sticks his head in.
    rab ın
    someone to see you, agent kujan.

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

    62 ınt. outsıde rabın's offıce 62

    kujan smiles instantly, recognizing the man standing with

    jack. what are you doing here?

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


    you can stop looking. there was no coke.
    ı've been in l.a. county with a guy they

    pınk 06/07/94

    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.

    there was ninety-one million -

    we know, but our man says no way on the
    dope. this hungarian tells me the whole
    bunch was pulling stumps for turkey the
    next' day. they had no time to negotiate
    that kind of product and no means to move

    what was the money for?

    he didn't know. no one doing the deal
    knew except a few key people. this guy
    says they were real hush about it.
    whatever it was it was highly sensitive.

    ı don't get it.

    they tell me you got the cripple from new
    york in there. he mention keyser soze

    who ?

    bear with me here...

    63 ınt. rabın's offıce - later

    boom - the door bursts open.

    who is keyser soze

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

    yellow 06/11/94


    ahhh fuck.

    64 ınt. hollywood athletıc club - day - two weeks prıor 64'
    keaton stands while the rest sit and listen.
    so ı need to know if anyone can think of
    anybody. somebody with power. enough to
    possibly track us from new york.

    look. we've been over it for an hour now.
    ı 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. kobayashı a tall, slim, well groomed man stands in the
    hall. he has a briefcase in his hand. he smiles politely.

    mr. keaton?

    keaton stands back and lets him in. kobayashi looks them

    kobayashı (cont'd)
    ı am mr. kobayashi. ı've been asked by my
    employer to bring a proposal to you
    gentlemen. that must be mr. hockney. ı
    recognize mr. fenster from his mug shot,
    as well as mr. mcmanus.
    (to verbal)
    ı can only assume that you are mr. kint.
    ı 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

    what can we do for you?

    blue 06/01/94


    my employer requires your services. one
    job. one day's work. very dangerous. ı
    don't expect all of you to live, but
    those who do will have ninety-one million
    dollars to divide any way they see fit.

    who's your boss?

    my employer wishes to remain anonymous.

    don't jerk me off. we all know what this
    is. you don't work with me if ı work with
    you without knowing who ı'm working for.
    now let's cut the shit. who's the man?

    ı 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.

    what is this?

    who's keyser soze?

    ı am sure you've heard a number of tall
    tales, myths and legends about mr. soze
    ı can assure you gentlemen, most of them
    are true.

    who's keyser soze?

    judging by the sudden change in mood, ı
    am sure the rest of your associates can
    tell you, mr. kint. ı have come with an
    offer directly from mr. soze. an order

    an order.

    blue 06/01/94


    ın 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. +
    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.

    kobayashı (cont'd)
    two months ago, mr. hockney stole a truck
    carrying gun parts through queens -

    everyone looks at hockney. he smiles shyly. ıt occurs to them
    all that he robbed the truck for which they were all arrested
    in the first place.

    kobayashı (cont'd)
    - guns allegedly set to be destroyed by
    the state of new york. they were to be
    "lost" in a weigh station and routed to
    belfast. again, mr. sate using pawns who
    had no knowledge.
    (turning to verbal)
    which brings us to mr. kint.

    verbal crumbles under his stare.

    kobayashı (cont'd)
    nine months ago, one of mr. soze less
    than intelligent couriers was taken in a
    complicated confidence seam by a cripple.
    he was relieved of sixty-two thousand
    dollars. now
    (to all of them)
    - ıt has taken us some time to find you.
    our intention was to approach you after
    your apprehension in new york.

    blue 06/01/94


    you set up the line-up.

    mr. soze made a few calls, yes. you were
    not to be released until ı came to see
    you. ıt seems mr. keaton's attorney, ms.
    finneran, was a bit too effective in
    expediting his release. holding the rest
    of you became a moot point.

    what about redfoot?

    mr. redfoot knew nothing. mr. soze rarely 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

    so why tell us?

    because you have stolen from mr. soze.
    that you did not know you stole from him
    is the only reason you are still alive,
    but he feels you owe him. you will repay
    your debt.

    who is this guy? how do we know you work
    for soze

    ı don't think that is relevant, mr.
    hockney. the five of you are responsible
    for the murder of saul berg and his
    bodyguards. mr. redfoot can attest to
    your involvement, and we can see to it
    that he will. he is not of your
    "superior" breed.

    this is a load of shit.

    the offer is this, gentlemen. mr. soze's
    primary interest, as ı am sure you all
    know, is narcotics. he's been - competing
    shall we say, with a group of

    yellow 06/11/94

    kobayashı (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. ıf you
    choose, you may wait until the buy.
    whatever money changes hands is yours.
    the transaction will take place on a boat
    in san pedro. mr. soze wants you to get
    to the boat and destroy the cocaine on
    board. then you are free of your
    obligation to mr. soze.

    give me one good reason why ı shouldn't
    kill you right now.

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

    a gift from mr. soze gentlemen.

    he turns and walks out of the room.

    keaton walks over to the case and opens it. he reaches in and
    pulls out five thick manila envelopes, each marked in bold
    black letters. "keaton", "mcmanus", "hockney", "fenster" and

    keaton pulls out the files, revealing a map underneath.

    keaton hands each man his file. he opens his first. he pulls
    out a thick stack of papers and thumbs through them.

    jesus christ. open them.

    all of the men open their files. ınside are mug shots of each
    man in his respective file as well as a printout of his
    criminal record. but there is more.

    they know everything.

    this is my life in here. everything ı've
    done since ı was eighteen.

    blue 06/01/94


    everybody ı ever worked with, did time

    they fucking know everything.

    keaton pulls out a large black and white photograph of
    himself and his lawyer edıe fınneran. they are laughing arm
    in arm by a fountain in new york. he hides the photo from the

    this is not right.

    ı don't know. who was that guy that used
    to talk about soze in new york?

    bricks marlin.

    yeah. he said he did jobs for him.
    ındirect stuff. always five times more
    money than the job was worth.

    come on. the guy is a pipe dream. this
    kobayashi is using him for window
    dressing .

    ı don't know. this is bad.

    ıt's bullshit. this guy could be l.a.p.d.
    ı think it's a setup.

    the way ı hear it, soze is some kind of
    butcher. no pity.

    there' is no keyser soze

    verbal thumbs through his file. a long list of names,
    numbers, addresses. ıt is a detailed portfolio of his entire
    criminal and personal life. he looks up at keaton.

    blue 06/01/94


    who is keyser soze

    65 ınt. rabın's offıce - day - present 65
    kujan leans into verbal's face. he hangs on his every word.
    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 ı
    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...

    66 scene deleted 66
    67 ınt. soze's home - day 67
    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.

    blue 06/01/94


    verbal (v.o.)
    they come to his home in the afternoon
    looking for his business. they find his
    wife and kids in the house and decide to
    wait for sate.

    68 ınt. soze's home - later 68'

    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.

    verbal (v.o.)
    he comes home to his wife raped and his
    children screaming. the hungarians knew
    soze was tough. not to be trifled with.
    so they let him know they meant business.

    the hungarian smiles. soze's wife screams ın horror.
    the hungarian holds up a blood soaked razor.
    suddenly, he grabs another child. a little girl no older than

    verbal (v.o.)
    they tell soze they want his territory -
    all his business. soze looks over the +
    faces of his family... then he showed
    these men of will what will really was.

    suddenly, soze pulls out a pistol and shoots the two men with
    guns. he turns and aims at the third man holding his child.

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

    soze fıres.

    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

    pınk 06/07/94


    verbal (v.o.)
    he tells him he would rather' see his
    family dead than live another day after

    soze walks over to his wife, crying and beaten on the floor
    and holds up her head. she gives him the strangest look. one
    of trust perhaps, saturated with fear and humiliation.

    he puts the gun between her eyes and fires.

    verbal (v.o.)
    he lets the last hungarian go, and he
    goes running. he waits until his wife and
    kids are in the ground and he goes after
    the rest of the mob. he kills their kids,
    he kills their wives, he kills their
    parents and their parents' friends.

    a dark and looming figure of a man walks in front of a wall
    of fire - a black shadow blurred by waves of heat.

    verbal (v.o.)
    he burns down the houses they live in and
    the stores they work in, he kills people
    that owe them money. and like that he was
    gone. underground. no one has ever seen
    him again. he becomes a myth, a spook
    story that criminals tell their kids at
    night. ıf you rat on your pop, keyser
    sate will get you. and nobody really ever

    69 ınt. rabın's offıce - day

    do you believe in him, verbal?

    keaton always said: "ı don't believe in
    god, but ı'm afraid of him." well ı
    believe in god, and the only thing that
    scares me is keyser soze.

    70 ınt. workshop

    jack baer and rabin listen to verbal on the speaker with one
    rab ın
    you give this any weight, agent baer?

    pınk 06/07/94


    ı can introduce you to dan metzheiser
    from justice. he has a file on sate in
    d.c. ıt's been a hobby of his for a few
    years. a lot of guys equate him to that
    reporter on the ıncredible hulk.

    had you heard of him before?

    on the street? a few times. outside
    stuff. somebody was working for a guy who
    was working for a guy who got money
    through keyser soze. that kind of shit.
    could be an old badge. a hex sign to keep
    people from fucking with you back when a
    name meant something.

    rab ın
    but you're here.

    shit yeah. ı got a guy trying to walk out
    of the hospital on d fried drumstick to
    get away from soze. ı'11 run it up the

    71 ınt. rabın's offıce 71

    ı came clean. ı told it like it happened
    on the boat. so what if ı left out how ı
    got there? ıt's got so many holes in it,
    the d.a. would've told me to blow amnesty
    out my ass. so you got what you wanted
    out of me. big fucking deal.

    and this is why you never told the d.a.

    you tell me, agent kujan. ıf ı told you
    the loch ness monster hired me to hit the
    harbor, what would you say?

    turn state's evidence. take the stand on
    this and we'll hear it out.

    blue 06/01/94


    ı've got immunity now. what can you
    possibly offer me?

    ıf there is a keyser soze he'll be
    looking for you.

    where's your head, agent kujan? where do
    you think the pressure's coming from?
    keyser soze - or whatever you want to
    call him - knows where ı 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. ımmunity was just to deal
    with you assholes. ı got a whole new
    problem when ı post bail.

    so why play into his hands? we can
    protect you.

    gee, thanks, dave. bang-up job so far.
    extortion, coercion. you'll pardon me if
    ı 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? ıf he comes up
    for anything, it will be to get rid of
    after that, my guess is you'll never hear
    from him again.

    72 ınt. hallway outsıde hospıtal room - day 72
    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.

    blue 06/01/94


    (<< >> denotes liners spoken in hungarian.)

    bodı c
    <<what sort of nose did he have?>>

    <<ıt was smaller than that. sharper.>>

    (to tracy) +
    the nose is sharper. smaller too. +
    (to arkosh in hung.)
    <<and what about the hair? you said
    something earlier about it.>>

    <<ıt is longer than that. and not so
    dark. >>

    <<are you sure?>>

    <<don't be stupid.>>

    (to tracy)
    he says the hair is longer and lighter.

    pınk 06/07/94


    73 ext. beach - day

    waves pound across a stone jetty. a man sits fishing while
    his young son, brando strolls toward the open sea. he pokes
    at rocks and seaweed with a fishing pole. he glances down at
    something wedged between the rocks beneath his feet. he

    pokes at it. he notes the checkered pattern of the fabric
    entwined with the twisted mess. ıt is the bloated carcass of
    the man ın the checkered bathrobe. brando pokes it's eye
    with the fishing pole. ıt pops.

    74 scene deleted/dıalogue moved

    pınk 06/07/94


    75 ınt rabın's offıce

    that was how ı ended up in a barber shop
    quartet in skokie, ıllinois.

    this is totally irrelevant.

    oh, but it's not. ıf ı hadn't been
    nailed in ıllinois for running a three
    card monte in between sets, ı never would
    have took off for new york. ı never
    would have met keaton, see. that barber
    shop quartet was the reason for

    can we just get back to kobayashi?

    the quartet is part of the bit about
    kobayashi. the quartet was in my file,
    along with every other thing ı had done
    since high school, see? aliases, middle-
    men. they knew me better than ı did.
    they knew all of us.

    kujan looks at his watch.

    you're stalling, verbal.

    give a guy a break, huh?

    what happened?

    verbal slumps a bit. he realizes his stalling tactic has
    we woke up the next morning and fenster
    was gone. he couldn't handle the idea of
    slumming for soze. he left a note wishing
    us good luck and took a chunk of the
    money we'd scraped together.

    scrıpt date 5/25/94


    then what?

    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.

    what call?

    kobayashi told us where we could find

    76 ext. beach - nıght - two weeks prıor 76
    keaton looks out over the ocean and smokes a cigarette.
    what do you want to do with him?

    mcmanus kneels in the sand. hockney and verbal stand behind
    him, staring at something in front of them.

    ıt is the body of fred fenster, literally peppered with
    bullet holes. mcmanus stares at him, fighting any flicker of

    ı worked five years with fenster. more
    jobs, more money than ı can count.

    ı'm sorry, mcmanus.

    ı want to bury him.

    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.

    you wıll fınd tıme. you're not the only
    one with debts, man.

    yellow 06/11/94


    no shovel.

    wıth our hands.

    77 mt. beach 77'

    everyone digs in the sand on the deserted beach with their
    hands. they are up to their waists in the hole they have
    scooped out. fenster's body is a few feet away.

    this is nuts.


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

    dıg, you fucker.

    hockney can see that mcmanus has truly gone over the edge for
    now. keaton gives him a look that says don't argue.

    keaton, we gotta go. they're gonna find


    what are we gonna do?

    ı can run. ı got no problem with that.

    they don't seem to have a problem with it

    nobody runs.

    this ain't my boy we're burying. ı don't
    owe anybody.

    scrıpt date 5/25/94


    we got a deal here.

    since when?

    since tonight. +

    fuck that.

    ıt's payback.

    ıt's not payback. ı don't answer to you. +
    ıt's precaution. you want payback? you
    want to run? ı don't care. ı'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.
    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.

    78 ınt. rabın's offıce - day - present 78

    verbal smokes with his good hand shaking badly.

    and after they killed fenster nobody
    would run?

    ı wanted to. ı thought we could make it.

    why didn't you say anything?

    ı tried, believe me, but keaton wouldn't
    have it. ıt was too far-fetched for him.
    keaton was a grounded guy. an ex-cop. to
    a cop, the explanation is never that
    complicated. ıt's always simple. there's

    pınk 06/07/94

    verbal (cont'd)
    no mystery on the street, no arch-
    criminal behind it all. ıf 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.

    79 ext. parkıng lot - nıght - two weeks prıor 79

    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.

    80 ınt. offıce buıldıng - day

    kobayashi walks through the front door of a plush office

    tower followed by two bodyguards. he heads toward the
    elevator, failing to notice hockney a few feet away, reading
    a newspaper.

    we see a wire running from hockney's ear to his collar.

    he's coming up.

    81 ınt. hallway - fortıeth floor

    keaton, mcmanus and verbal stand by the six elevators on the
    fortieth floor. they are all wearing khaki overalls and tool
    belts with walkie-talkies. they look like servicemen.

    all of the elevators have been propped open and stranded.

    mcmanus moves into one of the elevators. as the doors close i
    behind him, he scrambles for the ceiling hatch.

    82 scene deleted

    pınk 06/07/94


    83 scene deleted

    84 scene deleted

    85 scene deleted

    86 ınt. hallway

    keaton and verbal listen for anything on the radio.

    87 scene deleted

    88 scene deleted

    pınk 06/07/94


    89 ınt. lobby

    the elevator opens. kobayashi and his bodyguards get on the
    90 ınt. elevator

    the elevator is empty except for the three men. mcmanus has
    vanished. kobayashi presses a button and they are on the way.

    suddenly, the ceiling hatch opens and mcmanus' arm comes out.

    pop - pop. two shots from a suppressed pistol and the guards
    drop to the floor, dead.
    kobayashi looks up with surprising calm into mcmanus' barrel.

    press forty.

    91 ınt. hallway - fortıeth floor

    the elevator opens and kobayashi is greeted by keaton and
    verbal. mcmanus drops from the ceiling hatch and pushes him


    blue 06/01/94


    verbal and mcmanus grab the dead bodies and drag them out of
    the elevator. they drag them to the next elevator which has
    been forced open, revealing an empty shaft.

    the answer is no.

    mr. soze will be most -

    listen to me, cocksucker. there is no
    keyser sate. ıf you say his name again,
    ı'11 kill you right here.

    a strange threat. ı can only assume
    you're here to kill me anyway. pity about
    mr. redfoot.

    fair trade for fenster.

    the elevator opens and hockney steps out.

    ahh, mr. hockney. do join us.

    we know you can get to us, and now you
    know we can get to you. ı'm offering you
    the chance to call this off.

    mr. so- my employer has made up his mind.
    he does not change it.

    neither do we.

    you got fenster, you may get more, but
    you won't get us all. not before one of
    us gets to you.

    ı believe you, mr. mcmanus. ı quite
    sincerely do. you would not have been
    chosen if you were not so capable, but ı
    cannot make this decision. whatever you
    can threaten me with is... ludicrous in
    comparison to what will be done to me if

    blue 06/01/94


    just so you know. ı'm the guy. ı'm the
    one that's gonna get through to you.

    ı am sorry, mr. mcmanus.
    (to keaton)
    f implore you to believe me, mr. keaton.
    mr. soze is very real and very +

    we'll see.

    mcmanus holds a pistol to kobayashi's chin. the lawyer's cool
    eyes never falter'.

    before you do me in, you will let me
    finish my business with ms. finneran
    first, won't you?

    suddenly, keaton grabs mcmanus' hand and pulls the gun away
    before he can shoot.

    what did you say?

    edie finneran. she is upstairs in my
    office for an extradition deposition. ı
    requested she be put on the case
    personally. she flew out yesterday.

    everyone looks at keaton.

    kobayashı (cont'd)
    no matter. kill away, mr. mcmanus.

    you're lying.

    am ı?
    92 ınt. hallway - fıftıeth floor

    everyone follows kobayashi quietly down a dimly lit, oak-
    lined hallway. verbal holds a small pistol discreetly in the
    small of kobayashi's back.

    scrıpt date 5/25/94


    they come to a glass office foyer. kobayashi gestures and
    everyone looks through the glass into the lobby beyond.

    edıe fınneran is talking casually with the receptionist.

    93 ınt. lobby 93
    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.

    ms. finneran's escort in los angeles.
    never leaves her for a moment. ı 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.
    kobayashı (cont'd)
    get your rest, gentlemen. the boat will
    be ready for you on friday. ıf ı 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. ı
    might only castrate mr. mcmanus' nephew,
    david. do ı make myself clear?

    all of the men surround kobayashi, aching to kill him.

    ı'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.

    scrıpt date 5/25/94

    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.

    94 ext. hıllsıde road - day 94'

    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.

    ıt's a logistical nightmare. close
    quarters, no advance layout, ten men,
    maybe twenty.

    can we stealth these guys?

    doubtful. with all that coke, they'll be
    ready - which brings me to sunny spot
    number two. even if one of us gets
    through and jacks the boat, we get

    and if we wait for the money?

    ten more men at least. ın my opinion, it
    can't be done. anyone who walks into this
    won't come out alive.

    ı'm for waiting for the money.

    me too.

    did you hear what he just said?

    ıf ı'm going in, ı want a stake.

    yellow 06/11/94


    so do ı.

    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.

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

    they all suddenly realize the weight of their situation.
    news said it's raining in new york.

    no one knows quite how to respond.

    95 ext, pıer - san pedro - nıght 95

    a large boat, sleek and yacht-like, but without finesse. this
    is a boat for business - heavy and fast. ıt is moored to the

    a large crane hoists a pallet of fuel drums from the dock. ıt
    swings slowly over the boat. a man on the dock yells in
    spanish to the crane operator.

    96 ext. boathouse 96

    behind an old and weathered boat in dry-dock, keaton and
    verbal watch the boat from the shadows.

    what-are they speaking?

    russian, ı think. ı don't know.


    yellow 06/11/94


    knock it off.

    dolly over to reveal:

    mcmanus climbing up the side of the boathouse.

    contınue past hım to reveal: r

    a large boat. a very large boat.

    97 ext. barge 97

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

    hockney's p.o.v.

    a black van pulls up and parks near the crane. four men in
    suits get out. one remains with the van and the other three
    walk toward the boat.

    on the boat, five men come up from below deck. they are tense
    and cautious around the men in suits. someone speaks in
    spanish and someone else in russian. ıt takes a moment before
    anyone speaks the same tongue. they settle on french for both

    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.

    are we ready, kids?

    98 scene deleted 98
    99 scene deleted/moved to bottom scene 97 99
    100 ext. boathouse.-- roof 100
    mcmanus is positioning himself on the roof of the boathouse.
    he stops and grabs his radio.

    ıf ı didn't have to stop and answer you,
    ı would be.

    yellow 06/11/94


    101 mt. boathouse 101'

    (into radio)
    everyone shut up. ı'm ready. mcmanus, you
    better be set up in ten seconds.

    (on radio)
    ı'm there.

    yellow 06/11/94


    (to verbal)
    ı want you to stay here. understand?

    verbal +
    but ı'm supposed to -

    ıf we don't make it out, ı want you to
    take the money and go.

    keaton, ı can't just -

    ı 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. ıf we can't get kobayashi my
    way, she'll get him her way.

    what if ı

    just do what ı tell you.

    keaton turns and takes a few steps. he stops and looks back,
    his face marked with guilt and agony.

    keaton (cont'd)
    tell her ı... tell her ı 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.

    102 ext. dock 102'

    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

    yellow 06/11/94


    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

    103 ext. boathouse - roof 103'
    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.


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

    mcmanus (cont'd)
    pow-pow-pow-pow-pow-pow . oswald was a

    104 ext. dock 104'

    the men shout questions at keaton in a number of languages.
    105 ext. barge 105'
    hockney's p.o.v.
    a few men standing on the dock near the stern of the large
    boat, move towards the commotion.

    hockney bails out and runs quickly and quietly through the
    shadows, bringing the bomb with him.

    106 ext. boathouse'' 106'

    verbal remains in the darkness, looking frightened.
    107 ınt. boathouse - roof 107a
    mcmanus still wanders with his scope.
    old mcdonald had a farm, ee-aye, ee-aye,
    oh. and on this farm he shot some guys.
    ba-da-bip, ba-da-bing, bang-boom.

    yellow 06/11/94


    108 ext. dock 108'

    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.

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

    109 ext. boathouse - roof 109'

    elvıs has left the buıldıng.

    he fires as fast as he can.

    110 ext. pıer 110

    the men from the boat and the men in suits try to peg keaton,
    but mcmanus' sniping has them running.

    111 ınt. crane 111

    the crane operator opens the door to bails out, leaving the
    crane in motion.,,

    112 ext. boathouse - roof 112'

    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

    meanwhıle on the dock:

    keaton climbs up onto a small lifeboat hanging from the side
    of the larger boat. from this he climbs aboard the large

    yellow 06/11/94

    113 ext. dock 113f
    hockney is firing in all directions.
    suddenly, he realizes no one is left on the dock.


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

    at the van, he finds the one man who has stayed behind to
    protect it. ı i

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

    (ın spanish)
    <<don't shoot, don't shoot. let's get the +
    fuck out of here. everyone ıs dead.>>

    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.

    114 ınt. van 114

    hockney, suddenly oblivious to the sound of gunfire, opens
    one of the crates and looks inside.

    ıt ıs fılled wıth money. cash and negotiable bonds of all

    he smiles.
    blood sprays all over the money. hockney looks at it,

    hockney raises a blood-soaked hand from his belly.
    he turns and stares in horror.

    yellow 06/11/94


    boom - another shot takes off the top of his head.

    115 ext. pıer 115

    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

    yellow 06/11/34


    116 ext. warehouse 116

    verbal is wrestling with what to do. he finally makes a break
    for the other side of the boathouse.

    117 ext. boat deck 117'
    the crane continues to swing.
    a single bullet hits one of the barrels on the suspended

    gasoline pours out through the bullet-hole.
    118 scene deleted ' 118f
    119 ext. boat 119
    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.

    120 ext'. pıer 120'

    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.
    ıt is quiet, except for the sounds of screaming, far off in
    the bowels of the boat and the hum of the crane.

    121 ınt. rabın's offıce - day - present 121

    why didn't you run?

    pınk 06/07/94


    ı froze up. ı thought about fenster and
    how he looked when we buried him, then ı
    thought about keaton. ıt looked like he
    might pull it off.

    a knock on the door.

    rabin steps in and motions for kujan to come outside.

    122 ınt.hallway

    rabin and jack baer are in the hall. rabin hands kujan a
    thick manila folder. kujan thumbs through it.

    a boy came across a body on the beach
    this morning. thrown clear when the boat
    burned. shot once in the head. two guys
    from the f.b.ı. just identified him. +

    and ?

    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.


    bear nods.

    rab ın
    ı 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.

    a big fucking rat.

    pınk 06/07/94


    rabın +
    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.

    keyser soze

    there's more.

    123 ınt. rabın's offıce - moments later 123
    kujan walks in and sits down in front of verbal. he smiles.
    ı'11 tell you what ı know. stop me when
    it sounds familiar.

    verbal is confused.

    there was no dope on that boat.

    124 ınt. boat - nıght - one week prıor 124

    keaton is weaving through tight, low-ceiling corridors,
    looking in every cabin, working his way towards the bottom of
    the boat.

    elsewhere ın 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.

    125 ınt. corrıdor

    jaıme, one of the men from the boat, is half-pushing, half-
    helping a thin and sweaty looking man ın a checkered bathrobe
    towards a cabin at the end of the hall.

    the man in the robe is trembling. he seems stricken with

    blue 06/01/94


    man ın robe
    he's here. ı saw him on deck.

    jaime pushes him inside the cabin and shuts the door.

    a stereo playing softly in the room mixes with the man's
    panicked breathing.

    the man in the robe screams through the closed door, his
    voice echoing off of the metal bulkheads.

    man ın robe
    ı'm tellıng you ıt's keyser soze.

    jaime stands outside the door of the cabin and turns to face
    down the hall. off in some other part of the boat, he can
    hear mcmanus wailing like a banshee and the ever-less
    frequent sound of gunshots.

    126 ınt. hold 126

    keaton has come to the four-foot-high door to the hold. the
    door is open slightly. keaton finds this strange. he pushes
    the door open and steps inside. the hold is empty.

    he hears a noise behind him. he wheels around to fire. he
    sees mcmanus in the door. his face is covered with blood.

    did you hear what ı heard?

    what happened to you?

    keyser soze is on the boat.


    ı heard somebody screaming his nuts off.
    he said keyser soze was on the boat.

    are you alright?

    mcmanus rubs some of the blood off with his sleeve.

    scrıpt date 5/25/94


    huh? oh, ıt's not mine.

    there's no coke.

    mcmanus looks around the hold as though he'll see four and a
    half tons of dope in some corner where keaton might have
    missed it.

    the two men look at one another. there is a long, pregnant

    let's get the fuck out of here.

    right behind you.

    127 ınt. corrıdor 127

    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.

    where's hockney?

    ı don't think he made it to the boat.

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

    ı can't remember which way.

    right -

    boom - boom

    gunshots fill the hallway from behind them. they do not stop
    to turn around. keaton goes left, mcmanus goes right. they
    run in opposite directions with the sound of gunfire right
    behind them.

    128 ınt. hallway - cabın 128
    jaime squints and cocks his head.

    yellow 06/11/94


    someone ıs comıng. he raises a pistol and crouches by the

    129 ınt. cabın 129

    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

    boom - boom - two shots just outside in the hall.

    suddenly, the door bursts open. jaime collapses in a heap on
    the floor, a bullet hole in his eye.

    a fıgure looms ın the door

    the man in the bathrobe looks up at the figure. we cannot see

    man ın robe
    ı told them nothing.


    the man in the robe falls dead.
    130 ext. deck - moments later 130
    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.

    131 ext. pıer - top of ramp 131

    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.

    132 ext. deck

    keaton hears a noise behind him. he swings around and points
    his gun at mcmanus again. he puts the gun down.

    yellow 06/11/94


    mcmanus smiles. he walks slowly across the deck towards
    keaton. something is not right about him.

    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

    133 ext. pıer 133'

    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 sırens can be

    134 ext. deck 134

    keaton kneels by mcmanus, trembling with rage. after a moment
    he stands, looking down at mcmanus' dead body.

    135 ext. pıer 135

    suddenly, verbal realizes something. he turns and goes to
    call out a warning to keaton. he is too late.

    136 ext. deck 136
    keaton never sees the crane coming.

    the pellet of barrels hits him square in the back and sends
    him flying into the wheel house of the boat.

    keaton is still for a moment. finally, he tries to get up,
    but finds he cannot move his legs.

    137 ext. pıer 137

    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

    yellow 06/11/94


    >from where he stands, he can just make out the figure of a
    tau, thın 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.

    yellow 06/11/94


    something about this man terrifies him.
    138 scene deleted ' 138'
    139 ınt. rabın's offıce - day - present . 139
    and that's when you say in your statement
    that you saw...

    kujan picks up his copy of verbal's statement to the d.a.

    kujan (cont'd)
    a man in a suit with a slim build. tall.

    wait a minute.

    (looking at watch)
    ı 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.

    ı - there had to be dope there.

    blue 06/01/94


    don't shine me, verbal. no more stalling.
    you know what ı'm getting at.

    ı don't.

    yes you do. you know what ı'm gettıng at.
    the truth. try to tell me you dıdn't
    know. try to tell me you saw someone kıll
    keaton .

    for the first time, verbal stands and tries to move away from
    kujan, but kujan stays in his face, backing him into a
    corner. verbal shields himself with his hands and shuts his


    kujan (cont'd)
    try to reef lyıng to me now. ı know
    everythıng .

    ı don't know what you're talking about.

    you know. you've known thıs whole fuckıng
    tıme. gıve ıt to me.

    verbal looks into kujan's eyes with genuine terror. kujan's
    face is red, his body trembles. his locomotive breathing is
    the only sound in the room.

    ı don't understand what you're saying. ı
    saw keaton get shot, ı swear to you.

    then why didn't you help him?

    ı was afraıd, okay? somehow, ı was sure
    it was keyser soze at that point. ı
    couldn't bring myself to raise my gun to

    but keaton...

    ıt was keyser soze, agent kujan. ı mean
    the devil himself. how do you shoot the
    devil in the back?

    yellow 06/11/94
    verbal holds up a shaking, twisted hand.
    verbal (cont'd)
    what if you miss?

    140 ext. barge - nıght - one week prıor 140'

    verbal is hiding in the tangle of girders and cables on the

    verbal's p.o.v.

    keaton's body is completely obscured.
    the man in a suit strides across the deck over to keaton,
    stopping to relieve himself on a small fire on the deck.
    he walks up and stands over keaton. the two men exchange
    words and the man in the suit pulls out a pistol. he points
    it at keaton.

    red and blue lıghts flash behınd verbal

    verbal turns. he can just make out police cars coming in the


    verbal hears a shot from the deck of the boat. he turns in
    time to see the man in the suit running across the deck
    toward the gangway.

    verbal can barely see the man from where he is now. the man
    in the suit is covered by shadows and the poor angle from the
    barge. verbal strains to see but he cannot.

    the man in the suit stops long enough to pull out a lighter.
    he turns and walks back across the deck and out of sight.
    a moment later flames leap up from on the deck.
    the mesh of steel and rubber leaves a dark and open cocoon at
    its base.

    move ınto the darkness.

    sirens are close now. almost here. the sound of fire raging
    out of control.

    sırens blarıng. tıres squealıng. car doors openıng. feet
    poundıng the pavement.

    yellow 06/11/94
    move further, slower, ınto the darkness.
    voices yelling. new light flickering in the surrounding

    blue 06/01/94
    141 ınt. rabın's offıce - day - present 141
    arturo marquez. ever hear of him?

    wha- no.

    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.

    ı never heard of him.

    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.

    ı said ı never heard of him.

    but keaton had. edie finneran was his
    extradition advisor. she knew who he was
    and what he knew.

    ı don't

    there were no drugs on that boat. ıt 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.

    but how - wait. you're saying soze sent t
    us to kill someone?

    blue 06/01/94


    ı'm saying keaton did.

    verbal cannot grasp this. he squints, trying to understand.

    kujan (cont'd)
    verbal, he left you behind for a reason.
    ıf 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?

    he wanted me to live.

    why did he want you to live? a one-time
    dirty cop without a loyalty in the world
    finds it in his heart to save a worthless
    rat-cripple? no, sir. why'


    ı don't buy that reform story for a
    minute. and even if ı did, ı certainly
    don't believe he would send you to
    protect her. so why?

    because he was my friend.

    no, verbal. you weren't friends. keaton
    didn't have friends. he saved you because
    he wanted it that way. ıt was his will.

    verbal grinds to a mental halt, trying to grasp the
    implication .



    keaton was keyser soze


    scrıpt date 5/25/94


    the kind of guy who could wrangle the
    wills of men like hockney and mcmanus.
    the kind of man who could engineer a
    police line-up from all his years of
    contacts in n.y.p.d.

    verbal stands on wobbly legs, shaking with anger.

    no, no, no, no, no.

    the kınd of man that could have kılled
    edıe fınneran.

    a strange look crosses verbal's face. shock perhaps, or

    kujan (cont'd)
    they found her yesterday in a hotel in
    pennsylvania. shot twice in the head.

    ıt starts to sink in with verbal. his eyes swell.


    he used all of you to get him on that
    boat. he couldn't get on alone and he had
    to pull the trigger himself to make sure
    he got his man. the one man that could
    identify him.

    this is all bullshit.

    he left you to stay behind and tell us he
    was dead. you saw him die, right? or did
    you? you had to hide when the first
    police cars showed up. you heard the
    shot, just before the fire but you didn't
    see him die.

    ı knew him. he would never -

    he programmed you to tell us just what he
    wanted you to. customs has been

    scrıpt date 5/25/94

    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? ıt's keaton
    making sure you tell us what you're
    supposed to. ımmunity is your reward.

    but why me? why not hockney or fenster or
    mcmanus? ı'm a cripple. ı'm stupid. why

    verbal hears the weight of his words and falls back in his
    chair, kujan looks at him with some pity,; but he is too far

    in to stop.

    because you're a cripple, verbal. because
    you're stupid. because you were weaker
    than them. because you couldn't see far
    enough into him to know the truth.

    verbal is crying now. he shakes his head, eyes closed.

    kujan (cont'd)
    ıf he's dead, verbal - if what you say is
    true, then it won't matter. ıt was his
    idea to hit the taxi service in new york,
    wasn't it? tell me the truth.

    ıt was all keaton. we followed him from
    the beginning.

    kujan smiles with triumphant satisfaction.

    verbal (cont'd)
    ı didn't know. ı saw him die. ı believe
    he's dead. christ

    why lie about everything else, then?

    you know what it's like, agent kujan, to
    know you'll never be good? not good like
    you. you got good all fucked around. ı
    mean a stand up guy. ı grew up knowing ı
    was never going to be good at anything
    'cause ı was a cripple. shit, ı wasn't

    blue 06/01/94

    verbal (cont'd)

    even a good thief. but ı thought the one
    thing ı could be good at was a keeping my
    mouth shut - keeping the code. ı didn't
    want to tell you for my dignity, that's
    all, and you robbed me, agent kujan. you
    robbed me.

    kujan pulls the microphone out from under his tie and puts it +
    on the desk. verbal actually manages to snort a laugh, but
    only briefly, overcome by an apparent wave of nausea.

    you're not safe on your own.

    you think he's..?

    ıs he keyser soze ı don't know, verbal.
    ıt seems to me that keyser sate is a
    shield. like you said, a spook story, but
    ı know keaton - and someone out there is
    pulling strings for you. stay here and
    let us protect you.

    ı'm not bait. no way. ı post today.

    you posted twenty minutes ago. captain
    leo wants you out of here a.s.a.p.,
    unless you turn state's.

    ı'11 take my chances, thank you. ıt's
    tougher to buy the cheapest bag-man than
    it is to buy a cop.

    where are you going to go, verbal? you
    gonna run? turn states evidence. you
    might never see trial. ıf somebody wants
    to get you, you know they'll get you out

    maybe so, but ı'm no rat, agent kujan.
    you tricked me, that's all. ı won't keep
    my mouth shut 'cause ı'm scared. ı'11
    keep it shut 'cause ı let keaton down by
    getting caught - edie finneran too. and
    if they kill me, it's

    yellow 06/11/94

    verbal (cont'd)
    because they'll hear ı dropped dime.
    they'll probably hear it from you.

    verbal stands, mustering his shattered dignity and walks
    towards the door. rabin opens it for him from outside.

    for once kujan cannot bring himself to look at verbal.
    verbal turns to the door, stopping to look rabin in the eye.
    verbal (cont'd)
    fuckin' cops.

    he steps out of the room and into the hall. rabin follows

    142 ınt. hospıtal - day 142

    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.

    143 ınt. hospıtal receptıon room 143

    metzheiser walks behind the reception desk without asking the
    nurse for permission and helps himself to the fax machine.

    144 ınt. depot - later 144

    verbal is downstairs in the depot of the police station
    picking up his personal belongings.

    a fat, whıte-haıred cop is checking off the items as he takes
    them out of the tray in which they are kept.

    one watch: gold. one cigarette lighter:
    gold. one wallet: brown. one pack of

    verbal collects his personal items and shuffles on his lame
    leg toward the exit.

    145 ınt. dıspatcher's offıce 145

    jack baer stands by a fax machine. a green light comes on
    next to a digital display.

    the display reads: receıvıng

    blue 06/01/94
    146 ınt. rabın's offıce 146
    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.

    rab ın
    you still don't know shit.

    ı know what ı wanted to know about

    rab ın
    which is shit.

    no matter. he'll have to know how close
    we came.

    rab ın
    keyser sate or not, if keaton's alive
    he'll never come up again.

    ı'11 find him.

    rab ın
    waste of time.

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

    rab ın

    nothing. something ı - forget it.

    kujan shakes his head. he gestures to the desk.

    kujan (cont'd)
    man, you're a fucking slob.

    rabin regards the mess of his office.

    rab ın
    yeah. ıt's got it's own system though. ıt
    all makes sense when you look at it
    right. you just have to step back from

    blue 06/01/94

    rabın (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.

    147 ext. street 147

    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.

    148 ınt. dıspatcher's offıce - 148

    a single sheet of paper comes out of the fax machine, face

    149 ınt. rabın's offıce 149

    kujan still stares at the bulletin board.

    suddenly, kujan's face changes. he leans in closer to the
    bulletin board and squints his eyes. his face changes again.

    first a look of puzzlement, then confusion - finally

    the coffee cup tumbles from his hand. ıt hits the floor with
    the smash of cheap porcelain. coffee splatters everywhere.

    rabin snaps out of his droning and looks up in surprise.

    kujan's p.o.v.

    kujan is staring not at what is on the bulletin board, but at
    the bulletin board itself.

    his eyes follow the aluminum frame, mounted firmly to the
    wall. one might note it's sturdy construction and it's
    convenient size. big enough to hold a lifetime of forgotten
    and disregarded notes and facts. years of police trivia that
    has been hung and forgotten with the intention of finding a
    use for it all someday. one might want such a bulletin board
    for one's self. one would look to see who makes such a
    bulletin board.
    kujan's eyes are locked on a metal plate bearing the
    manufacturer's name.

    yellow 06/11/94
    ıt reads: quartet - skokıe, ıllınoıs
    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, brıcks, shank, redfoot, thee, rooster...

    kujan's eyes wıden with sudden realization. he runs for the

    his foot crushes the broken pieces of rabin's coffee cup. the
    cup that hovered over verbal's head for two hours.

    kujan is in too much of a hurry to notice the two words
    printed on the jagged piece that had been the bottom of the
    cheap mug.

    kobayashı porcelaın.

    150 ext. hallway 150

    kujan is sprinting wildly down the hall for the stairs.

    151 ext. street 151

    verbal looks behind him and sees another cop standing just
    inside the doorway, lighting a cigarette. the cop notices
    verbal and watches him in the way that cops look at people
    they cannot place in the category of idiot citizen, or stupid

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

    152 ınt. depot 152

    kujan runs up to the desk where verbal had only moments
    before picked up his belongings. rabin is right behind him, a
    look of absolute confusion on his face.

    where ıs he? dıd you see hım? t

    the cripple? he went that way.

    yellow 06/11/94


    the cog gestures towards the door.

    kujan runs outside looking around frantically.

    153 scene deleted 153'

    yellow 06/11/94


    154 ext. sıdewalk 154

    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

    155 ınt. car 155
    drıver's p.o.v.
    the driver's hands tap the wheel patiently. his eyes follow
    verbal as he fumbles through the crowd.

    156 ext. sıdewalk 156

    kujan pushes and shoves, looking this way and that.
    157 ext. street 157
    low angle on the feet of dozens of people.
    verbal's feet emerge from the crowd on the far side. they
    hobble along the curb.

    suddenly, the right foot seems to relax a little, the inward
    angle straightens itself out in a few paces and the limp
    ceases as though the leg has grown another inch.

    crane up verbal's body

    verbal's hands are rummaging around in his pockets. the good
    left hand comes up with a pack of cigarettes, the bad right
    hand comes up with a lighter. the right hand flexes with all

    blue 06/01/94


    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. ıt is a fluid motion, somewhat

    verbal lights a cigarette and smiles to himself. he turns and
    sees the car running alongside.

    158 ınt. dıspatcher's offıce 158

    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 kınt.

    159 ext. street 159
    the car stops. the driver gets out.
    ıt ıs kobayashı, 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.
  3. ilk izleyişte başyapıt, tekrar izleyişlerde ise sıradan bir macera filmi. tuhaf nitelendirmeler yapmaya, sinema tarihini görmezden gelmeye gerek yok bu film için. zeka ürünü incelikli bir senaryo, usta işi bir kurgu ve iyi oyuncular: sır bu herkesin bildiği üzere. ama bu da küçümsenecek bir şey değil. hatta 1995 yapımı olduğu düşünülürse bir furyaya öncülük yaptığı bile söylenebilir bu filmin. the usual suspects'in ardından flashback'li, sürpriz sonlu bir çok film yapıldı ve bunlar arasından kötü olanlar bile hem ticari başarılara hem de sanatsal ünvanlara layık görüldü. adamlar filmlerin sonlarını o flashback'lerle masa başında bağlar oldular artık. katilleri "en umulmayan kişi" olarak tespit etmeye başladı filmin başlarında izleyici. şaşırmaya şaşırmamayı öğrendi artık, o kadar diyeyim.

    ama bu furyaya nedense türk sinemasınca iştirak edilmedi, çok iyi yapılan taklit denemelerine bile girişilmedi. şimdi küstahlıkla değil ama bir tür kıskançlıkla "ey sözlük sana söylüyorum, türk yönetmen ve senaristleri siz anlayın"a bağlamak durumunda olduğum bu meselinin özünde, söylediğim gibi para yok; büyük bütçeler, teknik imkanlar kesinlikle yok. yani ey "gelin", sen de izliyorsun bu filmleri madem, çöz bu işin sırrını artık. sen de başyapıt deyip durma herkes gibi. hep ağlamakla olmaz, çalış sen de biraz. sende de zeka var, sen de okudun amerikan üniversitelerinde filan. iyi oyuncun var, seyircin hazır. öyleyse üzme bizi, gece gece hezeyanlara sürükleme böyle pls.
  4. nedense birçok kişinin iyi bir film olmasını son 15 dk.sına bağladığını gördüğümüz filmdir. oysa, manyak bi film izlemekte olduğumuzun en önemli işareti filmin ilk yarısında verilmektedir.

    --- spoiler ---

    şöyle ki...

    filmi ilk izleyişim, cnbc-e nin pazar öğleden sonra kuşağında şahane filmler yayınlandığı zamanlar. bir memleket ziyareti esnasında çıldırmış gibi cnbc-e izliyorum, uzaktan kumandayı zaptetmiş durumdayım, o derece. bu filmin adını duymuş dahi değilim bu arada, filmde kevin spacey'i gördük, izliyoruz. bu arada annecim gelişim şerefine lahmacun yaptırtmış ki, adana'yı bilenler bunun ne demek olduğunu anlarlar. yani kısaca dikkatimin çoğunu lahmacuna vermiş durumdayım arada kafamı kaldırıp filme bakıyorum. tam o aralar yanılmıyorsam filmin 30'lu dakikalarında ajan kujan'ın verbal'a bağırarak, keaton'un ölmediğini düşündüğünü söylediği bir sahne vardır, ona rastladım. ajan arkasında durur şekilde konuşuyorken verbal'ın nasıl müstehzi bir ifade takındığını ve ajan 'ın görüş hizasına geldiği anda tekrar tepkisiz duruşuna geri döndüğü sahne. ve kamera uzunca bir süre verbal'a yakın çekim yapmaya devam ediyor. yanlış mı gördüm diye bir süre daha bakıyorsunuz ama o ifadeye bir kez daha rastalayamıyorsunuz.. işte o an nasıl rol yaptığını rol yaparak gösteriyor adam. birkaç saniyelik bir nüansla, ki oscar'ı o mimik değişimine verdiklerini bile düşünebilirim. yani ben olsam verirdim... hatta...

    neyse ben bu anlardan itibaren filmi gerçekten izlemeye başladım. bi pislik olduğunu sezdim ama tutup da sonunu o an anladım diye atamam çünkü o an kaiser söze'yi bilmiyoruz. sonra da araya başka şeyler girdi, bi ara keaton'dan şüphelenmedim desem yalan olur. zaten finalde verdigim tepki de aynen şuydu: ha?? haaaaaaaaaaaaa!!! ohaaaaaaaaaaaa!!!

    yani kısaca yönetmenimiz en önemli ipucunu öyle bir zamanda vermiş ki, gördüğümüz anda nereye oturtacağımızı bilemiyoruz. bu sebeple de takdir ettim kendisini...

    --- spoiler ---
  5. başlarında "öff bu film fazla action, pek de bana göre değil" dedirtip, yarısından sonra nefesimi tutup merakımdan kendimi yiyip bitirip hayretlerimle başbaşa kalmama neden olmuş, süper film..
  6. anlatılmaz,izlenir ve yaşanır. izlediğim en güzel film. imdb de bunu doğruluyor, zira ondan daha çok olumlu oy almış filmleri ben izlemedim.
  7. spoiler

    filmi izlerken bir sahne dikkatimi çekmişti; bence olayın çözüldüğü sahne ama çok fazla gizlenmiş ve geri plana atılmış, sorgu sırasında sigarasını yakamayan kaiser soze, gene filmin bir sahnesinde sigarasını yakmayı başarmıştır, ilk farkettiğimde hata olarak düşündüm ama sonra filmin sonlarına doğru jeton düştü. paylaşmak istedim sadece

  8. sonuyla insanı şaşırtan deha ürünü film..başlarda olaylar karmaşık gelir çünkü gariptir ama sonunda herşeyin açıklığa kavuşması bu filmi efsane yapar...
    şeytanın yaptığı en büyük kurnazlık tüm dünyayı yaşamadığına inandırmakmış. sözü tüm filmi özetlemeye yeter sanırım...
  9. pek bir dikkatimi vererek izleyemediğim halde yine de ara ara duyduğum replikleriyle dikkatimi çekebilmiş ve sonunda da cidden oha dedirtmiş filmdir.

    "şeytanın yapabildiği en büyük kurnazlık tüm dünyayı yaşamadığına inandırmakmış ... ve sonra birden yok olmuş . puuf !"

    ayrıca bir kaç defa daha izleyip olayı çözmeyi düşündüğüm filmdir.