Genres: Crime, Thriller, Drama, Mystery
Setting: Contemporary, Various locations in New York City
Themes: Betrayal, Identity, Crime and Consequences, Power and Control, Deception
Conflict and Stakes: The primary conflict revolves around the group's involvement with Keyser Soze and their attempts to navigate dangerous situations while trying to protect themselves and their loved ones. The stakes are high as they face the threat of death and betrayal.
Overall Mood: Tense and Suspenseful
Mood/Tone at Key Scenes:
- Scene 1: Scene 1: Chaotic and explosive with a sense of danger
- Scene 15: Scene 15: Apprehensive and tense as Keaton realizes he is finished
- Plot Twist: The revelation of Keyser Soze's true identity and the manipulation of the narrative
- Unique Setting: The use of various locations in New York City to create a sense of danger and urgency
- Complex Characters: The multi-dimensional and morally ambiguous characters that drive the story
- Intricate Storytelling: The non-linear narrative structure and the use of Verbal Kint's voiceover
- Tense and Suspenseful Tone: The overall mood of tension and apprehension throughout the screenplay
Explanation: The screenplay is recommended due to its strong opening that immediately grabs the reader's attention, effective use of visual and auditory elements to create tension and suspense, and well-written dialogue that conveys the characters' emotions and motivations. The use of the match and the flame as a visual motif throughout the scene is effective in creating a sense of danger and impending doom, and the introduction of Verbal Kint's voiceover adds an intriguing layer to the scene. However, there are areas of improvement, such as the smoother transition between scenes, providing more clarity on the significance of certain elements, and making the introduction of Keyser Soze more impactful and mysterious. Additionally, a clearer establishment of the main conflict, more development of the characters and their relationships, and a stronger sense of stakes and consequences are needed. Notable points include the effective use of visual elements to enhance the atmosphere, the insight provided by the dialogue between Edie and Keaton, and the need for smoother transitions and clearer explanations in certain scenes.
USP: The Unique Selling Proposition in this screenplay is the intense and suspenseful exploration of the criminal underworld, filled with complex characters and unexpected twists. The script stands out from others in its genre through its innovative storytelling techniques, such as the use of non-linear narrative and unreliable narration. The scenes are filled with tension and apprehension, keeping the audience engaged and on the edge of their seats. The script's unique elements, including the conflict between the criminals and corrupt cops, the revelation of Keaton's dark past, and the mysterious and enigmatic character of Keyser Soze, make it compelling and intriguing for its target audience. This script offers a fresh and captivating take on the crime thriller genre, making it a must-watch for fans of suspenseful storytelling.
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, fans of crime thrillers and suspenseful dramas
Marketability: The screenplay offers a compelling and intricate storyline with well-developed characters. The presence of a mysterious and enigmatic antagonist adds to the marketability. The film has the potential to attract a wide adult audience and generate positive word-of-mouth.
Profit Potential: High, due to the strong appeal to a wide adult audience and the potential for critical acclaim and award nominations.
Analysis Criteria Percentiles
Summary:The writer's voice is characterized by tense and atmospheric descriptions, realistic and impactful dialogue, and concise and descriptive narrative. The writer's voice contributes to the script by creating a sense of tension, suspense, and danger. The vivid descriptions, sparse dialogue, and focused scene direction enhance the mood and themes of the screenplay, adding depth and complexity to the characters and their interactions.
Best representation: Scene 16 - Interrogation. This scene could serve as the encapsulation of the writer's unique voice in the screenplay because it showcases their ability to create tension and suspense through dialogue and concise narrative description.
- Verbal: The greatest trick the Devil ever pulled was convincing the world he didn't exist. (Scene 23)
Dean Keaton:Injured and conflicted character, involved with Keyser Soze
Verbal Kint:Narrator and key character, involved with Keyser Soze
Keyser Soze:Mysterious and powerful criminal mastermind
Edie Finneran:Love interest of Dean Keaton
McManus:Member of the group involved in criminal activities
The Percentile is against the screenplays in our library.
|At least one Character Changes in the scene||7.3||94|
|Story Moves Forward||8.9||100|
|Internal Goal Score||7.9||21|
|External Goal Score||7.4||38|
Note: This is the overall critique. For scene by scene critique click here
Note: This is the synthesis. See scene by scene analysis here
|Story Forward||8.9||98||Silence of the lambs: 8.8||The usual suspects: 8.9|
|Plot||8.8||97||A Quiet Place: 8.7||Silence of the lambs: 8.8|
|Conflict Level||9.2||96||The Usual Suspects: 9.1||Everything everywhere all at once: 9.2|
|Dialogue||8.6||96||What we do in the shadows: 8.4||Easy A: 8.6|
|High Stakes||9.4||95||Silence of the lambs: 9.3||Dr. Strangelove: 9.4|
|Overall||8.8||95||Community: 8.6||Terminator 2: 8.8|
|Character Changes||7.3||93||Silence of the lambs: 7.2||The usual suspects: 7.3|
|Engagement||8.88||88||Thor: 8.83||The usual suspects: 8.88|
|Emotional Impact||8.1||86||The Shawshank Redemption: 8.0||the boys (TV): 8.1|
|Characters||8.5||82||Breaking bad: 8.4||the black list (TV): 8.5|
|Pacing||8.44||55||Breaking bad, episode 306: 8.43||Silence of the lambs: 8.44|
|Concept||7.8||50||Stranger things: 7.7||Get Out: 7.8|
|Formatting||9.00||46||Mind Hunter: 8.95||Severance: 9.00|
|External Goal||7.38||37||The sweet hereafter: 7.35||The usual suspects: 7.38|
|Structure||8.09||24||Breaking bad: 8.07||The usual suspects: 8.09|
|Originality||6.09||21||Mind Hunter: 6.05||Stranger things: 6.09|
|Internal Goal||7.88||18||Everything Everywhere All at Once: 7.86||Thor: 7.88|
|Story Content||Character Development||Scene Elements||Audience Engagement||Technical Aspects|
|Scene Number||Full Analysis||Tone||Overall Grade||Concept||Plot||Originality Score||Characters||Character Changes||Internal Goal||External Goal||Conflict||Opposition||High stakes||Story forward||Twist||Emotional Impact||Dialogue||Engagement||Pacing||Formatting||Structure|
|1||The Usual Suspects - Scene 1||Lonely, Dark, Intense||9||8||9||6||9||7||8||7||9||8||9||9||7||8||8||9||8||9||9|
|2||The Setup||Violent, Intense, Suspenseful||8||7||8||6||9||6||8||9||9||8||8||9||7||7||7||9||9||9||8|
|3||The Meeting||Suspenseful, Intense, Serious||8||7||8||6||7||6||8||7||9||9||9||8||8||7||9||9||7||9||8|
|4||Interrogation Room||Suspenseful, Intense, Dramatic||8||7||8||6||7||6||8||7||9||7||9||8||7||7||9||9||8||9||8|
|5||Interrogation Room||Intense, Suspenseful, Confrontational||9||8||9||6||8||7||8||7||9||8||9||8||7||8||7||9||9||9||8|
|6||Interrogation Room||Tense, Confrontational, Sarcastic||9||8||9||7||9||7||8||6||9||8||10||9||7||8||8||9||9||9||8|
|7||Interrogation Room||Intense, Suspenseful, Confrontational||9||8||9||6||8||7||8||7||9||7||10||9||6||8||9||7||8||9||8|
|8||Interrogation Room||Intense, Tense, Confrontational||8||7||8||9||7||6||8||7||9||8||9||8||7||7||6||9||8||9||8|
|9||Interrogation Room||Intense, Suspenseful, Confrontational||9||8||9||6||9||7||8||7||9||8||9||9||7||8||8||9||9||9||8|
|10||Interrogation Room||Intense, Confrontational, Serious||9||8||9||6||8||7||8||7||9||9||10||9||7||8||9||9||8||9||8|
|11||Interrogation Room||Intense, Tense, Dramatic||9||8||9||6||8||7||8||7||9||7||10||9||7||8||9||9||8||9||8|
|12||Interrogation and Offer||Tense, Confrontational, Emotional||9||8||9||6||9||7||8||9||9||9||9||9||7||8||10||9||8||9||8|
|13||The Heist||Intense, Suspenseful, Tense||9||8||9||9||8||7||8||9||9||9||10||9||8||8||8||9||9||9||7|
|14||The Heist||Intense, Tense, Dramatic||9||8||9||7||8||6||8||7||9||6||10||9||7||7||8||9||8||9||8|
|15||The Revelation||Intense, Suspenseful, Confrontational||9||8||9||6||9||7||8||7||10||9||10||9||7||8||10||9||8||9||8|
|16||Verbal's Interrogation||Tense, Confrontational, Suspenseful||9||8||9||6||9||8||8||7||10||9||10||9||7||9||10||9||8||9||8|
|18||Interrogation and Revelation||Tense, Conflict||8||7||8||6||9||8||7||8||9||7||9||9||7||7||9||9||8||9||8|
|19||The Heist||Tense, Conflict||9||8||9||4||8||7||7||9||10||8||9||9||7||8||7||9||9||9||8|
|20||Revelations and Confrontations||Tense, Conflict||9||8||9||6||9||7||8||7||9||8||9||9||7||8||8||9||9||9||8|
|21||The Revelation||Tense, Conflict||9||8||9||7||9||9||8||7||10||8||9||10||8||9||10||9||9||9||9|
|22||The Proposal||Tense, Conflict-filled||9||8||9||6||8||7||8||9||9||8||10||9||7||8||9||9||9||9||8|
|23||The Legend of Keyser Soze||Tense, Dark||9||8||9||8||9||8||8||7||10||9||10||9||8||9||8||9||9||9||9|
|24||Verbal's Defense||Tension, Conflict||9||8||9||5||8||7||8||7||10||8||9||9||6||8||10||9||7||9||8|
|25||Burial of Fenster||Tense, Conflict||9||8||9||6||9||7||8||7||9||8||9||8||7||8||9||9||9||9||8|
|26||The Burial||Tense, Suspenseful, Confrontational||9||8||9||6||9||7||8||7||9||8||10||9||7||8||10||9||9||9||8|
|27||Burial and Betrayal||Tense, Menacing, Resigned||8||7||8||6||9||7||8||7||9||9||9||8||7||8||9||9||8||9||8|
|28||The Burial||Tense, Heated, Agonizing, Frightened||9||8||9||5||9||8||7||9||9||8||10||9||7||9||8||9||9||9||8|
|29||Burial and Revelation||Tense, Heated, Horror||9||8||9||3||8||7||8||7||10||8||9||9||6||8||9||9||9||9||8|
|30||Burial and Betrayal||Tense, Suspenseful, Dramatic||9||8||9||6||9||8||8||7||10||8||10||9||7||9||8||9||9||9||8|
|31||Burial and Interrogation||Tense, Heated, Terrifying||9||8||9||7||9||8||8||7||9||8||9||9||8||9||8||9||9||9||9|
|32||The Revelation||Tense, Revealing, Emotional||9||8||9||6||9||9||8||7||9||9||10||9||7||10||10||9||8||9||8|
|33||The Revelation||Tense, Serious||9||8||9||5||8||9||7||8||9||7||10||9||6||9||9||7||8||9||8|
|34||The Betrayal||Tense, Suspenseful, Betrayal||9||8||9||5||9||9||8||7||9||8||9||9||7||9||9||9||9||9||8|
FOR EDUCATIONAL PURPOSES ONLY
White Revised, 06/01/94
Blue Revised, 06/07/94
Pink Revised, 06/11/94
Converted to PDF by ScreenTalk™ Online
1 BLACK 1
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. It
quivers for a moment. A dimly lit hand brings the rest of the
pack to the match. A plume of yellow-white flame flares and
illuminates the battered face of DEAN KEATON, age forty. His
salty-gray hair is wet and matted. His face drips with water
or sweat. A large cut runs the length of his face from the
corner of his eye to his chin. It bleeds freely. An unlit
cigarette hangs in the corner of his mouth.
In the half-light we can make out that he is on the deck of a
large boat. A yacht, perhaps, or a small freighter. He sits
with his back against the front bulkhead of the wheel house.
His legs are twisted at odd, almost impossible angles. He
A thin trail of liquid runs past his feet and off into the
darkness. Keaton lights the cigarette on the burning pack of
matches before throwing them into the liquid.
The liquid IGNITES with a poof.
The flame runs up the stream, gaining in speed and intensity.
It begins to ripple and rumble as it runs down the deck
towards the stern.
2 EXT. BOAT - NIGHT - STERN 2
A stack of oil drums rests on the stern. They are stacked on
a palette with ropes at each corner that attach it to a huge
crane on the dock. One of the barrels has been punctured at
it's base. Gasoline trickles freely from the hole. The flame
is racing now towards the barrels. Keaton smiles weakly to
The flame is within a few yards of the barrels when another
stream of liquid splashes onto the gas.
The flame fizzles out pitifully with a hiss. Two feet
straddle the flame. A stream of urine flows onto the deck
from between them.
The sound of a fly zipping. Follow the feet as they move over
to where Keaton rests at the wheel house.
CRANE UP to the waist of the unknown man. He pulls a pack of
cigarettes out of one pocket and a strange antique lighter
from the other. It is gold, with a clasp that folds down over
the flint. The man flicks up the clasp with his thumb and
strikes it with his index finger. It is a fluid motion,
Keaton looks up at the man. A look of realization crosses his
face. It is followed by frustration, anger, and finally
How are you, Keaton?
I'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.
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.
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.
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
MOVE OUT ACROSS THE DOCK, away from the boat.
The pier to which the boat is moored is littered with DEAD
BODIES. Twenty or more men have been shot to pieces and lie
scattered everywhere in what can only be the aftermath of a
A BARGE COMES INTO VIEW.
On the deck of the barge is a tangle of cables and girders.
The mesh of steel and rubber leaves a dark and open cocoon
beneath its base.
MOVE INTO THE DARKNESS.
Sirens are close now. Almost here. The sound of fire raging
out of control.
SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET
POUNDING THE PAVEMENT.
MOVE FURTHER, SLOWER, INTO THE DARKNESS
Voices yelling. New light flickering in the surrounding
SUDDENLY, AN EXPLOSION.
Then silence. TOTAL BLACKNESS.
We hear the voice of ROGER "VERBAL" KINT, whom we will soon
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.
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
POLICE. SEARCH WARRANT. DON'T MOVE.
It 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.
Police. We have a warrant for your
McMANUS Will they be serving coffee downtown? Two dozen black
gloved hands grab him and yank him out of bed.
4 INT. AUTO BODY SHOP - DAY 4
An old paint mixer vibrates furiously. TODD HOCKNEY, a dark,
portly man in his thirties is working on an old Fire-bird.
A YOUNG HISPANIC KID mixes paint a few feet away. SUDDENLY,
the garage door opens TO REVEAL:
A row of five men silhouetted by the bright sun. Hockney
Can I help you?
Hockney's voice is gruff.
Hockney reaches for something just inside the door of the
Who are you?
All six men INSTANTLY 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.
5 EXT. STREET - NEW YORK - DAY 5
FRED FENSTER, a tall, thin man in his thirties strolls
casually down the street. He is dressed conspicuously in a
loud suit and tie with shoes that have no hope of matching.
He smokes a cigarette and chews gum at the same time.
He happens to glance over his shoulder and notice a brown
Ford sedan with four men in it cruising along the curb. He
picks up his step a little. The Ford keeps up.
He looks ahead at the corner. He tries to look as comfortable
as he can, checking his watch as though remembering an
appointment he is late for. The Ford stays right on him.
SUDDENLY, he bolts. He gets no more than a few yards before
cars pour out of every conceivable nook and cranny. Brakes
are squealing, radios squawking, guns cocking. Fenster is
surrounded instantly. He stops short and flaps his hands on
his thighs in defeat.
6 INT. MONDINO'S RESTAURANT - DAY 6
An attractive man and woman walk quickly through the front of
a small New York cafe. They are charged with nervous, excited
The man is DEAN KEATON, a well dressed, sturdy looking man in
his forties with slightly graying hair. He looks much better
than he did in the opening scene.
The woman with him is EDIE FINNERAN, age thirty-three, poised
and attractive - Easily the calmer of the two.
They come to a staircase at the back of the restaurant
leading down to a dark room. Edie takes Keaton's arm and
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
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
I'm having a stroke.
You've come far. You're a good man. I
Keaton blinks then stammers, looking for a response. PAUSE
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.
They come to the bottom of the steps giggling and jabbing
each other. Once off the stairs they instantly transform as
though hit with cold air. They assume a cool, professional
exterior and walk two feet apart. One would look at them and
see only two business associates here to ply their trade.
They walk across the dimly lit dining room to a table in the
far corner where two men are already waiting. The first is
MR. FORTIER, age thirty-five, the other is MR. RENAULT, age
sixty. Both men are impeccably dressed with a distinguished
air. They stand and smile.
Edie, nice to see you.
Sorry we're late.
Nonsense. Sit, please.
(struggling with English)
You must be Mr. Keaton.
I'm sorry. Dean Keaton Renault's hand is
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 INT. MONDINO'S RESTAURANT 8
Follow a waiter past the flight of steps.
PAN DOWN TO REVEAL:
Five sets of feet arriving at the bottom. The feet in the
middle wear shoes notably nicer than the rest.
PAN UP TO REVEAL:
SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S.
CUSTOMS. Thirtyish, dark-haired and determined.
9 SCENE DELETED 9
10 INT. RESTAURANT - DOWNSTAIRS 10
Edie brought us your proposal and I'll be
honest. We're very impressed. A bit
skeptical, I 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.
It's simple gentlemen, design
versatility. A restaurant that can change
with taste without losing the overall
aesthetic. Our atmosphere won't be
painted on the walls.
This was the part of the proposal that
intrigued us, but I'm not sure I follow.
Let's say for example -
This I had to see myself.
Keaton looks up. He sees David Kujan. Behind him are the very
serious looking guys in suits. Keaton is not happy to see
Dave. I'm in a meeting.
Time for another one.
This is my attorney, Edie Finneran.
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 I would have thought.
Is there a problem, Mr. Keaton?
The small matter of a stolen truck-load
of guns that wound up on a boat to
Ireland last night.
Renault and Fortier's confusion is giving way to suspicion.
If 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
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.
I'LL call you.
Kujan takes him by the arm, but Keaton yanks away.
He looks out over the dozens of other faces in the
restaurant. Everyone is looking at him with some level of
surprise. If Keaton is humiliated by the whole affair, he
hides it well.
A police officer steps into the frame and opens the steel
FOLLOW A PAIR OF FEET as they shuffle across the cement
floor. The shoes are shabby and worn, as are the wrinkled
pants that hang too low and loose at the cuffs. The right
foot is turned slightly inward and falls with a hard limp. It
is clear that the knee does not extend fully.
The sound of a steel door opening. The bottom corner of a
steel cage comes into view. Another set of feet falls into
step with the first. Another steel door and another set of
feet. Another door, another and another. Five pairs of feet
walk single file down the hall.
The lame feet are in the front of the line. They come to
another steel door, this one solid and covered with dents and
CRANE UP TO REVEAL:
ROGER KINT, VERBAL to his few friends. He has a deeply lined
face, making his thirty-odd years a good guess at best.
From his twisted left hand, we can see that he suffers from a
slight but not debilitating palsy. Behind him are Dean
Keaton, Fred Fenster, McManus and Todd Hockney.
Verbal steps through the door, followed by the rest.
It didn't make sense that I be there. I
mean these guys were hard-core hijackers,
but there I was. At that point, I wasn't
scared, f knew I hadn't done anything
they could do me for. Besides, it was
fun. I got to make like I was notorious.
12 INT. LINE-UP ROOM 12
The five men are ushered into the room in front of a white
wall painted with horizontal blue stripes. Each has a number
at either end to denote the height of the man in front of it.
Between these lines are thinner blue lines to tell the
specific height in inches.
SCRIPT DATE 5/25/94
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?
SHUT UP IN THERE. Alright, you all know
the drill. When your number is called,
step forward and repeat the phrase you've
been given. Understand?
The men all nod.
Number one. Step forward. Hockney takes a
He looks directly into a mirror on the other side of the
room. It is three feet square and we can make out faint light
behind it. It is a two-way. He speaks in a complete dead-pan.
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 I'll rip off
KNOCK IT OFF. Get back in line.
McManus steps back.
The rest of the men do their bit as Verbal speaks.
It was bullshit. The whole rap was a
setup. Everything is the cops' fault. You
don't put guys like that in a room
together. Who knows what can happen?
13 INT. INTERROGATION ROOM - NIGHT 13
McManus sits in a chair in front of a white wall. He smiles
at someone off-screen.
This has to be embarrassing for you guys,
huh? I mean you know and I know this is a
load of shit, but at least I don't have a
captain with his dick in my ass making me
play along. That has got to suck.
Are you done?
Do you work for a broad? That would have
to be the worst.
Are you done?
Still, I guess dignity is a small pries
to pay for medical and a pension. A small
pension, mind you, but a pension
They drilled us all night. Somebody was
pissed about that truck getting knocked
off and the cops had nothing. They were
hoping somebody would slip. Give them
something to go on. They knew we wouldn't
fight it because they knew how to lean on
us. They'd been doing it forever. Our
rights went right out the window. It was
a violation. I mean disgraceful.
They went after McManus first. He was a
good guy. Crazy though. A top notch entry
So where'd you dump the truck?
The truck with the guns, fucko.
You kill me, you really do. Where's my
Right here. Suck it out.
You want to know what your buddy Fenster
Do I look stupid enough to fall for that?
Jesus Christ. Beat me if you gotta, but
no more of the candy-land tactics, man.
WHERE'S THE FUCKING TRUCK?
Now Fenster is in the seat. He sweats profusely.
I want to call my lawyer. I don;'t know
about any truck. I was in Connecticut all
night on Friday.
That's not what McManus said.
McManus. Be told us another story
Was it the one about the hooker with
dysentery I swear , she never mentioned
money until I came.
Be fold us about the truck.
To be honest, it was more like a
mobile home. She made a lot of money.
Who took the guns off your hands?
Hey, are we talking about the same thing?
I'm losing my patience.
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
You guys got nothing on me. Where's your
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
Fenster knocks on the table.
HELLO? Can you hear me in the back? P.C.
He looks under his chair.
Where is it? I'm lookin'. It's not
happening. What's going on with that? I
15 INT. INTERROGATION ROOM 15
Hockney's turn in the chair. He laughs it all off.
- my lawyer. I'll have your badge,
I know you. You don't think I know you're
on the take. This whole fucking precinct
is dirty. You don't have a fucking leg to
Hockney was just a bad bastard. Good with
explosives. Mean as a snake when it
You think so, tough guy? I can put you in
Queens the day of the hijacking.
I live in Queens. What the fuck is this?
You come into my store and lock me up in
front of my customers. What the hell is
wrong with this country? Are you guys
gonna charge me or what?
You know what happens if you do another
turn in the joint?
I'll fuck your father in the shower.
Charge me, dick-head.
16 INT. INTERROGATION ROOM 16
Now Keaton sits in the chair, cool and indifferent.
Keaton was the real prize for them, for
I'll charge you when I'm ready.
You know damn well, dead-man.
Hey, that was your mistake, not mine. Did
you ever think to ask me? I've been
walking around with the same face, same
name - I'm a businessman, fellas.
What's that? The restaurant business? Not
anymore From now on you're in the getting-
fucked-by-us business . I'm gonna make
you famous, cocksucker. Keaton shows just
a flicker of contempt. The threat has hit
Like I said. It was all your mistake.
Charge me with it and I'll beat it. Let's
get back to the truck.
A FIST flies into the frame and connects with Keaton's jaw.
His head snaps back, blood flowing freely from his mouth.
17 DELETED 17
Keaton is brought in to a holding where he joins Fenster,
Hockney, Verbal and McManus. He sits in a corner and keeps to
himself. Fenster is in mid-tirade.
Somebody should do something. What is
this shit - getting hauled in every five
minutes? Okay, so I did a little time,
does that mean I get railed every time a
truck finds its way off the planet?
McManus is silently staring at Keaton, who sits on a bench,
These guys got no probable cause.
SCRIPT 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, I'll end up a
You are a criminal.
Why you gotta go and do that? I'm trying
to make a point.
Then make it. Christ, you're making me
tired all over.
McManus looks at Keaton.
I heard you were dead, Keaton.
You heard right.
The word I got is you hung up your spurs,
man. What's that all about?
Rumor has it, Keaton's gone straight -
cleaning house. I 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. I
hear she's Keaton's meal ticket.
Is it true?
What about it, Keaton? You a lawyer's
wife. What sort of "retainer" you giving
SCRIPT DATE 5/25/94
Keaton shoots McManus a fiery glare.
I'd say you've gotten on his main and
central nerve, McManus.
Do your friend a favor, Fenster, keep him
You're clean, Keaton? Say it ain't so.
Was it you that hit that truck?
Forget him. It's not important. I was
trying to make a point.
This whole thing was a shakedown.
What makes you say that?
How many times have you been in a line-
up? It's always you and four dummies.
The P.D. pays homeless guys ten bucks a
head half the time. No way they'd line
five felons in the same row. No way. And
what the hell is a voice line-up? A
public defender could get you off of
So why the hell was I hauled in and
cavity searched tonight?
It was the Feds. A truck load of guns
gets snagged, Customs comes down on
N.Y.P.D. for some answers - they come up
with us. They're grabbing at straws. It's
politics - nothing you can do.
I had a guy's fingers in my asshole
Is it Friday already?
SCRIPT DATE 5/25/94
Fuck you. I'11 never shit right again. So
who did it? Own up.
I don't want to know.
Nobody asked you, workin'-man.
Fuck who did it. What I want to know is,
who's the gimp?
ALL EYES suddenly turn on Verbal. He has been quietly
listening the whole time without uttering a word.
How do I know that? How about it, pretzel-
man? What's your story?
His name is Verbal Kint. I thought you
guys knew him.
Roger really. People say I talk too much.
Yeah, I was gonna tell you to shut up.
We've met once or twice. Last time was
County. I was in for fraud.
You were waiting for a line-up then, too.
What happened with that?
I walked. Ninety days, suspended.
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.
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, I
figure we owe it to ourselves to salvage
a little dignity. Now Fenster and I got
wind of a possible job -
Why don't you just calm down'
What do you care what he says?
Yeah, I'm just talking here, and Hockney
seems to want to hear me out. I know
Fenster is with me -
How about you, guy?
McManus finishes pissing.
I'm interested, sure.
There, so you see, I'm going to exercise
my right to free assembly.
McManus taps the bars of his cell and the others LAUGH.
I'm not kidding. Shut your mouth.
You're missing the point.
No, you're missing the point. Shut up. I
don't want to hear anything you have to
say. I don't want to know about your
"job". Just don't let me hear you. I want
nothing to do with any of you -
I beg your pardon but all of you can go
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.
Forget him then.
Now I can't talk about this here in any
detail, but listen up...
Everyone but Keaton gravitates toward McManus's cell as he
begins to speak in low, hushed tones.
And that was how it began. The five of us
brought in on a trumped-up charge to be
leaned on by half-wits.
What the cops never figured out, and what
I know now, was that these men would
never break, never lie down, never bend
over for anybody. .. Anybody.
It is morning in the aftermath of the opening scene. Harsh
sunlight shines on a line of body bags on the dock.
Police swarm everywhere, photographers are taking pictures of
the scene while a team of men in rolled up sleeves and
plastic gloves pick at the remains.
Two men on a fire boat operate a water cannon, dousing the
smoldering remains of a burned-out ships hull.
Watching this from the edge of the pier is a man in a dark
suit. He is SPECIAL AGENT JACK BAER of the F.B.I. He is tall
and fit, in his late thirties. He gazes out over the water
A UNIFORM COP trots up to him.
Who are you?
Baer holds up his badge without looking at the man.
Agent Jack Baer, F.B.I. 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.
I don't want any of the bodies taken away
until I've had a chance to go over this,
I have to clear the scene. I'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 I
think. Listen, the Chief said -
Baer walks away from the cop, ignoring him completely. He
wanders through the carnage on the pier.
20 MT. OCEAN 20
A half mile out from the pier.
The sea is choppy, stirred by the wind. An object floats into
view a few feet away, bobbing in the water.
It is A DEAD BODY - a man, face down, wearing a CHECKERED
BATHROBE. He drifts quietly toward the open ocean.
21 INT. HEARING ROOM - DAY - LOS ANGELES PRESENT 21
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
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.
VOICE #1 (O.S.)
My client offers his full cooperation in
these proceedings. In exchange, his
testimony is to be sealed and all matters
incriminating to himself are to be
VOICE #2 (O.S.)
The district attorney's office will
comply provided -
No provisions, nothing. My clients
testimony for his immunity.
May-I be frank, Counselor? I suspect your
political power as much as I respect it.
I don't know why Mr. Kint has so many
faceless allies in City Hall, and I don't
care. The embarrassment he helped cause
the city of New York will not happen
Counselor, I will prosecute your client.
Then prosecute. I will be very impressed
to see if the District Attorney manages
to bring in twenty-seven simultaneous
counts of murder against one man with
cerebral palsy. I would think a man with
your job would agree with these alleged
"faceless people in City Hall" you
VOICE #2 1
One would think the counsel is veiling a
Counsel isn't veiling anything.
I'11 take my chances then. I'11 feel
safer without a job if a man like Mr.
Kint is behind bars.
Mr. Kint will plead guilty to weapons
Weapons. Misdemeanor one.
Counselor, you're insulting me.
Counselor, you're bluffing. Shall I push
for misdemeanor two?
Voices mumble off screen. Verbal fidgets in his chair.
Misdemeanor one. Fine. This is ludicrous.
A tiny smile and a genuine look of disbelief flash across
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
Verbal lets out a long-held sigh of relief.
David Kujan is walking quickly beside SERGEANT RABIN, a dark
and weathered looking man in his late thirties. They move up
a staircase into the heart of police headquarters.
What do you mean I can't see him?
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?
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.
I give the D.A. credit for getting that
much to stick. This whole thing has
turned political. The Mayor was here -
the chief - the Governor called this
morning, for Christ's sake. This guy is
protected - From up on high by the prince
of fucking darkness.
When does he post bail?
Two hours, tops.
I want to see him.
Rabin comes to an office door with his name on it. He opens
it and lets Kujan in before following.
23 INT. RABIN'S OFFICE 23
Rabin's office can only be described as a disaster area. The
desk is cluttered with weeks, perhaps months or even years of
paperwork that could never conceivably be sorted out.
Above his desk is a bulletin board. It is a breathtaking
catastrophe of papers, wanted posters, rap-sheets, memos and
+ post-its. This is in the neighborhood of decades. Rabin is
a man with a system so cryptic, so far beyond the
comprehension of others, he himself is most likely baffled by
Even if I was to let you talk to him, he
won't talk to you. He's paranoid about
being recorded and he knows the
interrogation rooms are wired.
This won't be an' interrogation, just
a... friendly chat to kill time.
He won't go into the interrogation room.
Someplace else, then.
Kujan looks around Rabin's messy office.
No, no, no, no, no.
If it was a dope deal, where's the dope,
if it was a hit, who called it in?
And I am sure you have a host of wild
theories to answer these questions.
You know damn well what I think.
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
I don't think he does. Not exactly, but
there's a lot more to his story. I want
to know why twenty-seven men died on that
pier for what looks to be ninety-one
million dollars worth of dope that wasn't
there. Above all, I want to be sure that
Dean Keaton is dead.
Two hours. Just until he makes bail.
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.
24 INT. HOSPITAL - DAY 24
A door marked INTENSIVE CARE. The door BURSTS OPEN. SUDDENLY,
the hallway is a flurry of activity.
DOCTOR LISA PLUMBER, age fifty, walks quickly beside JACK
Baer walks with all of the determination of a battalion of
DOCTOR RIDGLY WALTERS, a young intern in his late twenties
rushes up to them.
Ridgly, this is Special Agent Jack Baer
from the F.B.I. Agent Baer, this is
Doctor Ridgly Waiters.
Nice to meet you.
Is he talking?
He regained consciousness less than an
hour ago. He spoke - not English - then
It 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.
(<< .. DENOTES LINES SPOKEN IN HUNGARIAN)
Baer comes to an abrupt halt at the foot of a bed surrounded
by a massive tangle of medical equipment. In the center of it
all is the as yet unnamed ARKOSH KOVASH, mid-thirties. His
body is nearly mummified in bandages and plaster from waist
BOLD IS OVERLAPPED:
<<Are you the police? I need the police.
He'll find out I'm here and he'll kill
me. I need the police. I will tell them
anything they want to know. Please, I am
going to be killed.>>
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, I'm going to be killed, You'll all
be killed if he has to do it. Help me,
God. They're all stupid. Get someone who
understands me or we're all going to
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? I'm not speaking English am I?
Wouldn't it make sense to find someone
who could talk to me so you could find
the person that set me on fire, perhaps?
He is the Devil. You've never seen anyone
like Keyser Soze in all your miserable
life you idiot. Keyser Soze. Do you at
least understand that? Keyser Soze. The
Devil himself. Or are you American
policemen io stupid that you haven't even
heard of him. Keyser Soze, you ridiculous
man. KEYSER SOZE. >>
Ridgly runs out of the room. Kovash babbles louder and
louder, trying to get Baer's attention. Baer sticks a finger
in one ear to block him out and hear the phone.
Is he dangerous?
Someone picks up on the other end of the phone.
Joel, it's Baer. I'm down at L.A. county.
The guy they pulled out of the harbor is
ARKOSH Kovash... Yes, I'm sure... No,
he's all fucked up... What? I can't hear
Shut up, Hugo, I'm on the phone.
Yes... No... Not until I put someone on
him. Listen, I need you to send me
someone who can speak Hungarian. He's
awake and talking like a Thai hooker...
How should I know? Get me someone who can
talk to him -
Baer is suddenly distracted by something Kovash has said. In
the middle of a long string of unintelligible dialect, he has
spouted two words that have gotten Baer's attention.
He turns and looks down at the tattered man in the bed.
Kovash realizes Baer is listening and says the two words
Keyser - Soze.
He waves his hand, gesturing for Kovash to say it again.
Keyser - Soze.
Joel, call Dan Metzheiser over at Justice
and find Dave Kujan from Customs.
26 INT. HALLWAY - POLICE STATION 26
Rabin walks out of a small room. Behind him, we catch a
glimpse of a workroom with a bench covered with wires.
Kujan comes out a moment later, gently fixing his tie.
Rabin opens the door to his office and Kujan enters. Rabin
follows, looking up and down the hall before closing the door
As the door closes we can just make out the back of Verbal's
head. He is seated in Rabin's office, smoking a cigarette.
27 INT. RABIN'S OFFICE 27
Kujan and Rabin sit down across from Verbal.
Verbal, you know we're trying to help
Sure. And I appreciate that. And I want
to help you, Agent Kujan. I like cops. I
would have liked to have been a Fed
myself but my C.P. was -
Verbal, I know you know something. I know
you're not telling us everything.
I told the D.A. everything I know.
28 INT. WORKSHOP 28
Rabin stands over LOUIS, a messy looking technician at his
workbench in a room full of electronic equipment. He adjusts
several dials on a receiver until the voices of Kujan and
Verbal come clearly through a tinny speaker on the wall.
Rabin reaches over for a nearby pot of coffee.
I know you liked Keaton I know you think
he was a good man.
I know he was good.
He was a corrupt cop, Verbal.
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
I just want to hear your story.
It's right here.
He taps a finger on the stack of paper that Kujan brought in.
Kujan picks it up and thumbs through it.
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
Oh, I know. Sweet deal you have. Total
Well I do have the weapons charge. I'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.
I know Ruby. He's very big on respect.
Likes me very much.
Verbal sees this getting to something. His smiles fades.
Now I know your testimony was sealed.
Ruby is well connected. He still has
people running errands for him. What do
you think he'd say if he found out you
dropped his name to the D.A.?
SCRIPT DATE 5/25/94
There's nothing in there about Ruby.
I'11 be sure to mention that to him.
Verbal is not smiling anymore. He stares at Kujan with utter
contempt, knowing he is being shafted.
The first thing I learned on the job,
know what it was? How to spot a murderer.
Let's say you arrest three guys for the
same killing. Put them all in jail
overnight. The next morning, whoever is
sleeping is your man. If you're guilty,
you know you're caught, you get some rest
- let your guard down, you follow?
I'11 get right to the point. I'm smarter
than you. I'11 find out what I want to
know and I'11 get it from you whether you
like it or not.
I'm not a rat.
Kujan puts his hand on the transcript of Verbal's confession.
Rabin walks in with a cup of coffee. Verbal takes it with his
good hand and sips it with a relish.
Ahhh. Back when I was picking beans in
Guatemala we used to make fresh coffee.
Right off the trees I mean. That was
good. This is shit, but hey...
Can we get started again?
Now what happened after the line-up?
Verbal sneers at Kujan, unable to change the subject.
Keaton stops at the top of the front steps of the police
station and lights a cigarette. Edie comes out behind him,
...and the desk Sergeant is actually
trying to tell me he can't release you?
Can you believe that? You weren't even
charged. New York police - Jesus. I want
to take pictures of your face to bring to
the D.A. first thing in the morning.
Just forget about it.
He looks across the street and sees Fenster and McManus
talking by a newsstand. McManus is thumbing through
Keaton looks to his right and sees Hockney trying to hail a
I'11 have this thing in front of a grand
jury by Monday.
Edie, please. I 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 I am.
SCRIPT DATE 5/25/94
Give me some credit. I got you this far,
let's go to the grand jury. This is never
going to stop if we -
No. It's never going to stop, period. It
won't take more than a week before every
investor in this city is walking away
from us. It's finished. I'm finished.
Just then, Verbal bumps into him on his way out the door. He
excuses himself and hobbles down the steps, oblivious to who
he has bumped into as he tries to navigate the stairs.
Don't give up on me now, Dean.
They'll never stop.
I love you.
They ruined me tonight.
Dean, I love you. Do you hear me?
Verbal gets to the sidewalk and stops. He turns, realizing it
is Keaton on the steps.
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?
SCRIPT 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
Fenster, McManus and Hockney all look at him and then at each
other. It is a strange moment of unspoken understanding.
All eyes finally turn to Keaton, high on the front steps of
the police station as he walks away with Edie.
31 INT. HALLWAY - DAY 31
Verbal stands in front of an apartment door. He hesitates for
a long moment before he knocks.
After a moment, the door opens and Keaton stands on the other
side of it. He is wearing a bathrobe and smoking a cigarette.
He looks at Verbal without any expression whatsoever.
What are you doing here'! How did you
I just asked one of the detectives
downtown. He seemed pretty happy to tell
Keaton curses under his breath and motions for Verbal to come
Verbal walks in and sits down on the couch, watching Keaton
cautiously. He looks around the large apartment, beautifully
furnished and decorated.
SCRIPT DATE 5/25/94
Edie walks into the room in a man's button-down shirt and
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 --
I know who he is.
I hope I didn't disturb you.
I hope so, too, Mr. Kint. Can I 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?
I wanted to talk to you. The other guys -
I did you a favor by standing up for you
last night, but don't think we're
friends. I'm sorry, but I have other
They're gonna do a job. Three million
dollars, maybe more.
Keaton is speechless. Verbal sits on the couch again.
SCRIPT DATE 5/25/94
They sent me to offer you a cut. We could
use a fifth man - a driver - That's all
Edie walks in with a glass of ice water and hands it to
Verbal drinks slowly. Edie stands over him, her face blank.
It is an awkward moment. She deliberately makes Verbal
LONG PAUSE - FINALLY:
So what is it you do, Mr. Kint?
A hijacker like Dean, here? Or something
That's enough, Edie.
I don't know what you came here for, but
we won't have any part of it.
Keaton takes Edie by the arm and tries to guide her toward
the other room. She pulls away, anger turning to rage.
I've spent the last year of my life
putting his back together again - I won't
have you come in here and - What makes
you think - GET OUT. GET OUT OF MY HOME.
HOW DARE YOU COME HERE?
Keaton is pulling her now. She yanks her arm away and shoves
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.
If you'll just let me -
SUDDENLY, KEATON LUNGES. He grabs Verbal by the lapels and
lifts him off the couch, moving him effortlessly across the
room and slamming him into the wall next to the front door.
He opens it.
Don't hurt me.
Hurt you, you sonofabitch? I 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
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.
What fence? Who?
Some guy in California. His name is
Never heard of him.
Keaton moves to throw Verbal out. Verbal grabs Keaton and
You have to come.
What's with you? What do you care whether
I come or not?
They - They don't know me. You do. They
won't take me unless you go. Look at me.
I need this.
Don't tell me you don't need this. Is
this your place?
Keaton is unable to answer.
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.
As clean as you could ever get, they'll
never let you go now.
SCRIPT DATE 5/25/94
I'm not knocking you. You look like
you've got a good little seam going with
this lawyer -
WHAM. Keaton punches Verbal in the stomach and drops him to
one knee. Verbal coughs and tries to find his breath.
You watch your mouth.
Okay, okay. You say it's the real thing?
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.
Verbal takes one and has a few drags, catching his breath and
rubbing his stomach in pain.
I was out of line.
I'11 be alright.
Well, I'm sorry.
I'11 probably shit blood tonight.
Keaton laughs. Verbal thinks about it for a moment and laughs
Keaton's laughter trails off. He thinks for a moment.
SCRIPT DATE 5/25/94
How are they going to do it?
McManus wants to go in shooting. I said
Fenster and Hockney?
They're pretty pissed off. They'll do
anything. Now I got a way to do it
without killing anyone: but like I said,
they won't let me in without you.
Not if we do it my way.
(Llst in thought)
I swore I'd live above myself.
Verbal smiles, knowing he has him.
New York's finest Taxi Service was not
your normal taxi service. It was a ring
of corrupt cops in the N.Y.P.D. that ran
a high-profit racket, driving smugglers
and drug dealers all over the city. For a
few hundred dollars a mile, you got your
own black and white and a police escort.
They even had their own business cards.
OSCAR WHITEHEAD, a tall gray-haired man in his fifties comes
out of the international terminal in a white linen suit. He
holds a large suitcase in his right hand.
After a while, somebody started asking
questions and the taxi service shut down.
Ever since then, Internal Affairs had
been waiting to catch them in the act.
Oscar stands on the curb long enough to light a cigarette.
After a moment, a POLICE CRUISER pulls up to him. He opens
the back door and gets in.
And that was how we started. McManus came
to us with the job; Fenster got the vans;
Hockney supplied the hardware; 'I came
through with how to do it so no one got
killed - but Keaton - Keaton put on the
finishing touch. A little "Fuck you" from
the five of us to the N.Y.P.D.
The car drives out of the airport. A VAN follows at a
34 INT. POLICE CAR 34
SERGEANT JIM STRAUSZ, a meaty, imposing looking man in his
forties drives the car. Beside him is a thin, greasy looking
PATROLMAN, STEVE RIZZI. They are two drivers for New York's
Finest Taxi Service.
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
That'll get you to Cape God.
The two men laugh. Strausz watches the road, expressionless.
35 EXT. HIGHWAY 35
The cruiser heads towards the heart of Manhattan.
36 EXT. STREET - LATER 36
The police car makes its way down a wide, abandoned street. A
WHITE MINIVAN pulls out behind it and heads the same way.
37 INT. POLICE CAR 37
Strausz looks in the rear-view mirror. The white minivan is
flashing his high-beams.
Strausz 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. RIZZI looks out of the corner of his eye.
He sees the driver of the van next to him holding the shotgun
with one hand. A stocking is over the driver's head.
Strausz looks straight ahead. The minivan in front of them is
missing a back window. Another man with a stocking on his
head aims a sub-machine gun at them from inside.
By the twisted right hand holding the front of the gun, we
know it is Verbal. Strausz and Rizzi raise their hands
without being asked.
38 EXT. STREET 38
The driver of the white van gets out with a gallon jug in one
hand and a sledge hammer in the other.
Moving like lightning, he jumps onto the roof of the police
SCRIPT DATE 5/25/94
He stands on the front of the roof and swings the hammer
39 INT. POLICE CAR 39
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.
GIVE ME THE SHIT.
Give it up.
Oscar hands the suitcase up front and Strausz passes it to
40 INT. FRONT VAN 40
Through the front windshield of the front van we see Keaton
at the wheel. Verbal is behind him leaning out the back
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
McMANUS The money. Strausz looks at Rizzi.
THE MONEY. LET'S HAVE IT.
Rizzi hands the money through the remains of the windshield.
McManus takes the money and stuffs it in his jacket. He steps
back and takes the cap off of the gallon jug. He quickly
pours some kind of liquid all over the roof of the car.
Do you know who I am?
A hand reaches into the driver's side window and rips
Strausz's badge off of his shirt.
Strausz dares to turn his head right at the shotgun pointing
at him through the window. On the other end is a masked and
smiling Todd Hockney.
We do now, Jerk-off.
McManus lights a pack of matches and drops them on the roof
of the car as he jumps off. THE LIQUID IGNITES, the roof of
the car is instantly in flames.
Strausz and Rizzi attempt to bail out, but the vans are too
close for them to open the doors. The vans pull away.
Strausz and Rizzi escape from the car. Oscar is trapped
inside, SCREAMING. Strausz and Rizzi stop, each expecting the
other to go let Oscar out.
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.
The papers got Keaton's call that day and
were on the scene before the cops were.
Strausz and Rizzi were indicted three
days later. Within a few weeks, fifty
more cops went down with them. It was
beautiful. Everybody got it right in the
ass, from the chief on down.
43 INT. GARAGE - NIGHT 43
Hockney, Fenster, McManus and Verbal are all laughing in a
secluded garage. They are still in their black clothes from
the robbery. Hockney is throwing everyone a can of beer.
Keaton sits off by himself. He watches the others, unable to
join in the festivities.
The others sit around a cheap card table. It is covered with
emeralds. Dozens of them. Everyone is in awe. McManus There's
more than I thought.
When does the fence come? McMANUS
Redfoot? He never comes to see me. I have
to go see him.
Yeah. It'll take a few days. Me and
Hold the fuckin' phone. You and Fenster?
No, no, no.
Guys, come on.
I'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.
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
My boy with the plan.
SUDDENLY, everyone yells and pours beer over Verbal's head.
He laughs as he is drenched in white foam, nearly choking as
the others chant his name.
Keaton watches from across the room, trying to smile in vain.
44 SCENE DELETED 44
45 INT. WAITING ROOM - LAW OFFICE - DAY 45
Keaton and Verbal sit side by side on a sofa. A sign on the
door behind them reads: MONTGOMERY and LaGUARDIA - ATTORNEYS
We're going to miss the flight.
We'll make it.
Don't do this. Send her a card -
We'll make it.
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.
Keaton realizes he is standing on a balcony overlooking a
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
We're gonna miss the plane.
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 INT. LIBRARY 46
Edie seems to sense something behind her. She turns and looks
through the glass doors and up into the waiting room.
NOTHING IS THERE. She goes back to chatting with the old
Heartwarming. Really, I feel weepy.
You wanted to know what happened after
the line-up, I'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 I'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
Better? That job had his name all over
You keep trying to lay this whole ride on
t Keaton. It wasn't like that. Sure he
knew, but Edie had him all turned around.
r I'm telling you straight, I swear.
Let me tell you something. I know Dean
Keaton. I've been investigating him for
three years. The guy I know is a cold-
+ blooded bastard. L.A.P.D. indicted him
on three counts of murder before he was
kicked off the force, so don't sell me
the hooker with the heart of gold.
You got him wrong.
Do I? Keaton was under indictment a total
of seven times when he was on the force.
In every case, witnesses either reversed
their testimony to the grand jury or died
before they could testify.
When they finally did nail him for fraud,
he spent five years in Sing Sing. He
killed three prisoners inside - one with
a knife in the tailbone while he
strangled him to death. Of course I can't
prove this but I can't prove the best
Kujan pauses to drink some coffee.
Dean Keaton was dead. Did you know that?
r He died in a fire two years ago during
an investigation into the murder of a
witness who was going to testify against
him. Two people saw Keaton enter a
warehouse he owned just before it went
up. They said he had gone in to check a
leaking gas main. It blew up and took all
of Dean Keaton with it. Within three
months of the explosion, the two
witnesses were dead, one killed himself
in his car and the other fell down an
open elevator shaft.
48 SCENE DELETED 48
49 SCENE DELETED/DIALOGUE MOVED - BOTTOM SCENE 47 49
50 INT. WORKSHOP 50
Rabin and Louis look at one another as they listen.
Six weeks ago I get an anonymous call
telling me I can find Keaton eating at
Mondino's with his lawyer, and there he
Now because he never profited from his
alleged death and because someone else
was convicted for the murder we tried to
pin on Keaton, we had to let him go.
He was dead just long enough for a murder
rap to blow over, then he had lunch.
SCRIPT DATE 5/25/94
I don't know about that.
I don't think you do. But you say you saw
Keaton die. I think you're covering his
ass and he's still out there somewhere. I
think he was behind that whole circus in
the harbor. My bet is he's using you
because you're stupid and you think he's
your friend. You tell me he's dead, so be
it. I want to make sure he's dead before
I go back to New York.
He wasn't behind anything. It was the
What lawyer, Verbal?
Verbal stammers for a moment, looking around wildly.
Back when I was in that barber shop
quartet in Skokie, Illinois I used to
Kujan grabs Verbal's shirt and yanks him half out of his
You think I don't know you held out on
the D.A.? What did you leave out of that
testimony? I can be on the phone to Ruby
Deemer in ten minutes.
The D.A. gave me immunity.
NOT FROM ME, YOU PIECE OF SHIT. THERE IS
NO IMMUNITY FROM ME. You atone with me or
the world you live in becomes the hell
you fear in the back of your tiny mind.
Every criminal I have put in prison,
every cop who owes me a favor, every
creeping scumbag that works the street
for a living, will know the name of
Verbal Kint. You'll be the lowest sort of
rat, the prince of snitches, the loudest
cooing stool pigeon that ever grabbed his
ankles for the man. Now you talk to me,
or that precious immunity they've seen so
fit to grant you won't be worth the paper
the contract put out on your life is
Verbal looks at Kujan with utter contempt.
There was a lawyer. Kobayashi.
Is he the one that killed Keaton?
No. But I'm sure Keaton's dead.
Convince me. Tell me every last detail.
52 SCENE DELETED 52