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Niki Wurster Visit our Movie Scripts Page screenplay 451: http://www.geocities.com/~screenplay451/ Mao Guangqin 2 0 2000-01-15T04:49:00Z 2000-01-15T04:49:00Z 42 19240 109669 Pumpkin Software 913 219 134681 9.2504 21 6 磅 5.2 磅 0 0 The Us
Is he dangerous?
BAER
Yes.
Someone picks up on the other end of the phone.
BAER (CONT'D)
Joel, it's Baer. I'm down at L.A. county. The guy they
pulled out of the harbor is ARKOSH Kovash... Yes, I'm sure... No, he's all
fucked up... What? I can't hear you.
(to Arkosh)
Shut up, Hugo, I'm on the phone.
(into Phone)
Yes... No... Not until I put someone on him. Listen, I
need you to send me someone who can speak Hungarian. He's awake and talking
like a Thai hooker... How should I know? Get me someone who can talk to him –
Baer is suddenly distracted by something Kovash has said. In the middle of a long string of unintelligible dialect, he has spouted two words that have gotten Baer's attention.
He turns and looks down at the tattered man in the bed. Kovash
realizes Baer is listening and says the two words again.
Keyser – Soze.
BAER
What?
He waves his hand, gesturing for Kovash to say it again.
KOVASH
Keyser – Soze.
BAER
No shit?
(into phone)
Joel, call Dan Metzheiser over at Justice and find
Dave Kujan from Customs.
INT. HALLWAY – POLICE STATION
Rabin walks out of a small room. Behind him, we catch a glimpse of a
workroom with a bench covered with wires.
Kujan comes out a moment later, gently fixing his tie.
Rabin opens the door to his office and Kujan enters. Rabin follows,
looking up and down the hall before closing the door behind them.
As the door closes we can just make out the back of Verbal's head.
He is seated in Rabin's office, smoking a cigarette.
Kujan and Rabin sit down across from Verbal.
KUJAN
(exasperated)
Verbal, you know we're trying to help you.
VERBAL
Sure. And I appreciate that. And I want to help you,
Agent Kujan. I like cops. I would have liked to have been a Fed myself but my
C.P. was –
KUJAN
Verbal, I know you know something. I know you're not
telling us everything.
VERBAL
I told the D.A. everything I know.
INT. WORKSHOP
Rabin stands over LOUIS, a messy looking technician at his
workbench in a room full of electronic equipment. He adjusts several dials on a
receiver until the voices of Kujan and Verbal come clearly through a tinny
speaker on the wall. Rabin reaches over for a nearby pot of coffee.
KUJAN (VOICE)
I know you liked Keaton I know you think he was a good
man.
VERBAL (VOICE)
I know he was good.
KUJAN (VOICE)
He was a corrupt cop, Verbal.
INT. RABIN'S OFFICE
VERBAL
Sure. Fifteen years ago, but he was a good thief
Anyway, the cops wouldn't let him go legit.
KUJAN
Keaton was a piece of shit.
VERBAL
You trying to get a rise out of me, Agent Kujan?
KUJAN
I just want to hear your story.
VERBAL
It's right here.
He taps a finger on the stack of paper that Kujan brought in. Kujan picks it up and thumbs through it.
KUJAN
According to your statement you are a short-con
operator. Run of the mill seams. Everything you do, you learned from somebody
else.
VERBAL
That's been suppressed. Anything in there is
inadmissible.
KUJAN
Oh, I know. Sweet deal you have. Total immunity.
VERBAL
(laughing)
Well I do have the weapons charge. I'm looking at six
whole months hard time.
KUJAN
(smiling)
You know a dealer named Ruby Deemer, Verbal?
VERBAL
You know a religious guy named John Paul?
KUJAN
You know Ruby is in Attica?
VERBAL
He didn't have my lawyer.
KUJAN
I know Ruby. He's very big on respect. Likes me very
much.
Verbal sees this getting to something. His smiles fades.
KUJAN (CONT'D)
Now I know your testimony was sealed. Ruby is well
connected. He still has people running errands for him. What do you think he'd
say if he found out you dropped his name to the D.A.?
VERBAL
There's nothing in there about Ruby.
KUJAN
I'll be sure to mention that to him.
Verbal is not smiling anymore. He stares at Kujan with utter contempt, knowing he is being shafted.
KUJAN (CONT'D)
The first thing I learned on the job, know what it
was? How to spot a murderer. Let's say you arrest three guys for the same
killing. Put them all in jail overnight. The next morning, whoever is sleeping
is your man. If you're guilty, you know you're caught, you get some rest – let
your guard down, you follow?
VERBAL
No.
KUJAN
I'll get right to the point. I'm smarter than you.
I'll find out what I want to know and I'll get it from you whether you like it
or not.
VERBAL
I'm not a rat.
Kujan puts his hand on the transcript of Verbal's confession. Rabin walks in with a cup of coffee. Verbal takes it with his good hand and sips it with a relish.
VERBAL (CONT'D)
Ahhh. Back when I was picking beans in Guatemala we
used to make fresh coffee. Right off the trees I mean. That was good. This is
shit, but hey...
RABIN
Can we get started again?
KUJAN
Now what happened after the line-up?
Verbal sneers at Kujan, unable to change the subject.
EXT. POLICE STATION – NIGHT – NEW YORK – SIX WEEKS PRIOR
Keaton stops at the top of the front steps of the police station and lights a cigarette. Edie comes out behind him, fuming mad.
EDIE
... and the desk Sergeant is actually trying to tell
me he can't release you? Can you believe that? You weren't even charged. New
York police – Jesus. I want to take pictures of your face to bring to the D.A.
first thing in the morning.
KEATON
Just forget about it.
He looks across the street and sees Fenster and McManus talking by a newsstand. McManus is thumbing through magazines.
EDIE
Absolutely not.
Keaton looks to his right and sees Hockney trying to hail a cab.
EDIE (CONT'D)
I'll have this thing in front of a grand jury by
Monday.
KEATON
Edie, please. I don't want to hear this right now.
What did Renault and Fortier say?
EDIE
They want more time to think about investing.
KEATON
Goddamnit.
EDIE
They just said they wanted time.
KEATON
Time for what, Edie? Time to look into me a little
more, that's what. No matter how well you cover my tracks now, they'll find out
who I am.
EDIE
Give me some credit. I got you this far, let's go to
the grand jury. This is never going to stop if we –
KEATON
No. It's never going to stop, period. It won't take
more than a week before every investor in this city is walking away from us.
It's finished. I'm finished.
Just then, Verbal bumps into him on his way out the door. He excuses himself and hobbles down the steps, oblivious to who he has bumped into as he tries to navigate the stairs.
EDIE
Don't give up on me now, Dean.
KEATON
They'll never stop.
EDIE
I love you.
KEATON
(to himself)
They ruined me tonight.
EDIE
Dean, I love you. Do you hear me?
Verbal gets to the sidewalk and stops. He turns, realizing it is Keaton on the steps.
EDIE (CONT'D)
Let's just go to my place. We'll worry about this
tomorrow.
Keaton and Verbal look at one another for a moment. Keaton then looks over to the newsstand and sees Fenster looking at him.
KEATON
Huh?
McManus notices Fenster and glances up from his magazine to see what he is looking at.
EDIE
Come home with me, please. Dean?
Keaton looks at Hockney who has one foot in a cab. He is looking at Fenster and McManus who are looking at Keaton. This makes Hockney look up at Keaton as well.
SUDDENLY, Edie tunes in to what is going on. She
notices the others on the street. She reaches over and takes Keaton by the arm,
pulling gently. She glares at the others.
EDIE
Come home, Dean.
KEATON
(distant)
Alright.
Verbal looks at everyone else from where he stands on the street. Fenster, McManus and Hockney all look at him and then at each other. It is a strange moment of unspoken understanding.
All eyes finally turn to Keaton, high on the front steps of the
police station as he walks away with Edie.
Verbal stands in front of an apartment door. He hesitates for a long
moment before he knocks.
After a moment, the door opens and Keaton stands on the other side of it. He is wearing a bathrobe and smoking a cigarette. He looks at Verbal without any expression whatsoever.
KEATON
What are you doing here'! How did you find me?
VERBAL
I just asked one of the detectives downtown. He seemed
pretty happy to tell me. Keaton curses under his breath and motions for Verbal
to come in.
INT. EDIE'S APARTMENT
Verbal walks in and sits down on the couch, watching Keaton
cautiously. He looks around the large apartment, beautifully furnished and
decorated.
Edie walks into the room in a man's button-down shirt and sweat
pants.
Dean, who was at the
She stops when she sees Verbal. Verbal stands and smiles nervously.
VERBAL
How do you do?
KEATON
Verb – Roger, this is Edie Finneran. Edie, this is
Roger Kint, he was at
EDIE
(cold)
I know who he is.
VERBAL
I hope I didn't disturb you.
EDIE
I hope so, too, Mr. Kint. Can I get you something to
drink?
VERBAL
A glass of water would be nice.
Edie shoots a look at Keaton on her way out of the room. Keaton tries to hush his voice despite his anger.
KEATON
What the hell do you want?
VERBAL
I wanted to talk to you. The other guys -
KEATON
I did you a favor by standing up for you last night,
but don't think we're friends. I'm sorry, but I have other things –
VERBAL
They're gonna do a job. Three million dollars, maybe
more.
Keaton is speechless. Verbal sits on the couch again.
VERBAL (CONT'D)
They sent me to offer you a cut. We could use a fifth
man – a driver – That's all you'll do.
Edie walks in with a glass of ice water and hands it to Verbal.
VERBAL (CONT'D)
Thank you.
Verbal drinks slowly. Edie stands over him, her face blank. It is an awkward moment. She deliberately makes Verbal uncomfortable.
Long pause – finally:
So what is it you do, Mr. Kint?
VERBAL
Umm...
EDIE
A hijacker like Dean, here? Or something more
creative?
KEATON
That's enough, Edie.
EDIE
(angry)
I don't know what you came here for, but we won't have
any part of it.
KEATON
Edie, please.
Keaton takes Edie by the arm and tries to guide her toward the other room. She pulls away, anger turning to rage.
EDIE
I've spent the last year of my life putting his back
together again – I won't have you come in here and – What makes you think – GET
OUT. GET OUT OF m HOME. HOW DARE YOU COME HERE?
Keaton is pulling her now. She yanks her arm away and shoves him.
EDIE
Don't touch me. Just don't,
She turns and walks out of the room. Somewhere in the back of the apartment, a door slams.
Keaton turns and glares at Verbal. Verbal cringes.
Get out.
VERBAL
If you'll just let me –
SUDDENLY, KEATON LUNGES. He grabs Verbal by the lapels and lifts him off the couch, moving him
effortlessly across the room and slamming him into the wall next to the front
door. He opens it.
VERBAL (CONT'D)
Don't hurt me.
KEATON
(seething)
Hurt you, you son-of-a-bitch? I could kill you.
Keaton starts to shove Verbal out the door.
VERBAL
(quickly)
They're going to hit the Taxi Service.
Keaton freezes. Long pause
VERBAL
New York's Finest Taxi Service.
KEATON
They – That's bullshit. They don't operate anymore.
VERBAL
McManus has a friend in the Fourteenth Precinct.
They're coming out for one job – Thursday. They're picking up a guy smuggling
emeralds out of South America. Fenster and McManus have a fence set to take the
stuff.
KEATON
What fence? Who?
