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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
FENSTER
So why tell us?
KOBAYASHI
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.
HOCKNEY
Who is this guy? How do we know you work for Soze
KOBAYASHI
I don't think that is relevant, Mr. Hockney. The five
of you are responsible for the murder of Saul Berg and his bodyguards. Mr.
Redfoot can attest to your involvement, and we can see to it that he will. He
is not of your "superior" breed.
MCMANUS
This is a load of shit.
KOBAYASHI
The offer is this, gentlemen. Mr. Soze's primary
interest, as I am sure you all know, is narcotics. He's been – competing shall
we say, with a group of Argentinians for several years. Competing with Mr. Soze
has taken its toll. These Argentinians are negotiating the sale of ninety-one
million dollars in cocaine in three days time. Needless to say, this purchase
will revitalize the diminishing strength of their organization. Mr. Soze wants
you to stop the deal. If you choose, you may wait until the buy. Whatever money
changes hands is yours. The transaction will take place on a boat in San Pedro.
Mr. Soze wants you to get to the boat and destroy the cocaine on board. Then
you are free of your obligation to Mr. Soze.
KEATON
Give me one good reason why I shouldn't kill you right
now.
Kobayashi smiles and puts his briefcase on the table in front of him.
KOBAYASHI
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 "KINT".
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. Inside are mug shots of each man in his respective file as well as a printout of his criminal record. But there is more.
HOCKNEY
They know everything.
MCMANUS
This is my life in here. Everything I've done since I
was eighteen.
FENSTER
Everybody I ever worked with, did time with.
HOCKNEY
They fucking know everything.
Keaton pulls out a large black and white photograph of himself and
his lawyer EDIE FINNERAN. They are laughing arm in arm by a fountain in New York. He hides the
photo from the others.
KEATON
This is not right.
FENSTER
I don't know. Who was that guy that used to talk about
Soze in New York?
MCMANUS
Bricks Marlin.
FENSTER
Yeah. He said he did jobs for him. Indirect stuff.
Always five times more money than the job was worth.
KEATON
Come on. The guy is a pipe dream. This Kobayashi is
using him for window dressing.
FENSTER
I don't know. This is bad.
HOCKNEY
It's bullshit. This guy could be L.A.P.D. I think it's
a setup.
FENSTER
The way I hear it, Soze is some kind of butcher. No
pity.
KEATON
There' is no Keyser Soze
Verbal thumbs through his file. A long list of names, numbers, addresses. It is a detailed portfolio of his entire criminal and personal life. He looks up at Keaton.
VERBAL
Who is Keyser Soze
INT. RABIN'S OFFICE – DAY – PRESENT
Kujan leans into Verbal's face. He hangs on his every word.
VERBAL
He is supposed to be Turkish. Some say his father was
German. Nobody believed he was real. Nobody ever saw him or knew anybody that
ever worked directly for him, but to hear Kobayashi tell it, anybody could have
worked for Soze. You never knew. That was his power. The greatest trick the
Devil ever pulled was convincing the world he didn't exist. One story the guys
told me – the story I believe – was from his days in Turkey. There was a petty
gang of Hungarians that wanted their own mob. They realized that to be in power
you didn't need guns or money or even numbers. You just needed the will to do
what the other guy wouldn't. After a while they come to power, and then they
come after Soze He was small time then, just running dope, they say...
INT. SOZE'S HOME – DAY
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.
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.
INT. SOZE'S HOME – LATER
The front door opens and in walks Keyser Sate. We are never 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
IN HORROR. The Hungarian holds up a BLOOD
SOAKED RAZOR. SUDDENLY, he grabs another child. A little girl no
older than six.
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 FIRES.
The stunned Hungarian watches the child fall from his arms.
Sate turns the pistol on the next child,
then the next and the next. He kills his children one by one in front of the
Hungarian.
VERBAL (V.O.)
He tells him he would rather' see his family dead than
live another day after this.
Soze walks over to his wife, crying and beaten on the floor and
holds up her head. She gives him the strangest look. One of trust perhaps,
saturated with fear and humiliation.
He puts the gun between her eyes and fires.
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. If you rat on your pop, Keyser Sate will
get you. And nobody really ever believes.
INT. RABIN'S OFFICE – DAY
KUJAN
Do you believe in him, Verbal?
VERBAL
Keaton always said: "I don't believe in God, but
I'm afraid of him." Well I believe in God, and the only thing that scares
me is Keyser Soze.
INT. WORKSHOP
Jack Baer and Rabin listen to Verbal on the speaker with one ear.
RABIN
You give this any weight, Agent Baer?
BAER
I can introduce you to Dan Metzheiser from Justice. He
has a file on Sate in D.C. It's been a hobby of his for a few years. A lot of
guys equate him to that reporter on the Incredible Hulk.
RABIN
Had you heard of him before?
BAER
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.
RABIN
But you're here.
BAER
Shit yeah. I got a guy trying to walk out of the
hospital on d fried drumstick to get away from Soze. I'll run it up the
flagpole.
INT. RABIN'S OFFICE
VERBAL
I came clean. I told it like it happened on the boat.
So what if I left out how I got there? It's got so many holes in it, the D.A.
would've told me to blow amnesty out my ass. So you got what you wanted out of
me. Big fucking deal.
KUJAN
And this is why you never told the D.A.
VERBAL
You tell me, Agent Kujan. If I told you the Loch Ness
Monster hired me to hit the harbor, what would you say?
KUJAN
Turn state's evidence. Take the stand on this and
we'll hear it out.
VERBAL
I've got immunity now. What can you possibly offer me?
KUJAN
If there is a Keyser Soze he'll be looking for you.
VERBAL
Where's your head, Agent Kujan? Where do you think the
pressure's coming from? Keyser Soze – or whatever you want to call him – knows
where I am right now. He's got the front burner under' your ass to let me go so
he can scoop me up ten minutes later. Immunity was just to deal with you assholes.
I got a whole new problem when I post bail.
KUJAN
So why play into his hands? We can protect you.
VERBAL
Gee, thanks, Dave. Bang-up job so far. Extortion,
coercion. You'll pardon me if I ask you to kiss my pucker. The same fuckers
that rounded us up and sank us into this mess are telling me They'll bail me
out? Fuck you. You think you can catch Keyser Soze? You think a guy like that
comes this close to getting fingered and sticks his head out? If he comes up
for anything, it will be to get rid of me.
(beat)
After that, my guess is you'll never hear from him
again.
INT. HALLWAY OUTSIDE HOSPITAL ROOM – DAY
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.
BODI
(in Hungarian)
What sort of nose did he have?
KOVASH
(in Hungarian)
It was smaller than that. Sharper.
BODI
(to Tracy)
The nose is sharper. Smaller too.
(to Arkosh in Hungarian)
And what about the hair? You said something earlier
about it.
KOVASH
(in Hungarian)
It is longer than that. And not so dark.
BODI
(in Hungarian)
Are you sure?
KOVASH
(in Hungarian)
Don't be stupid.
BODI
(to Tracy)
He says the hair is longer and lighter.
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. It is the bloated carcass
of THE MAN IN THE CHECKERED BATHROBE.
BRANDO pokes it's eye with the
fishing pole. It pops.
INT. RABIN'S OFFICE
VERBAL
That was how I ended up in a barber shop quartet in
Skokie, Illinois.
KUJAN
This is totally irrelevant.
VERBAL
Oh, but it's not. If I hadn't been nailed in Illinois
for running a three card monte in between sets, I never would have took off for
New York. I never would have met Keaton, see. That barber shop quartet was the
reason for everything.
KUJAN
Can we just get back to Kobayashi?
VERBAL
The quartet is part of the bit about Kobayashi. The
quartet was in my file, along with every other thing I had done since high
school, see? Aliases, middle-men. They knew me better than I did. They knew all
of us.
Kujan looks at his watch.
KUJAN
You're stalling, Verbal.
VERBAL
Give a guy a break, huh?
KUJAN
What happened?
Verbal slumps a bit. He realizes his stalling tactic has failed.
VERBAL
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.
KUJAN
Then what?
VERBAL
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.
KUJAN
What call?
VERBAL
Kobayashi told us where we could find Fenster.
EXT. BEACH – NIGHT – TWO WEEKS PRIOR
Keaton looks out over the ocean and smokes a cigarette.
KEATON
What do you want to do with him?
McManus kneels in the sand. Hockney and Verbal stand behind him,
staring at something in front of them.
It is the body of Fred Fenster, literally peppered with bullet
holes. McManus stares at him, fighting any flicker of emotion.
I worked five years with Fenster. More jobs, more
money than I can count.
KEATON
I'm sorry, McManus.
MCMANUS
I want to bury him.
KEATON
No time.
McManus springs to his feet and points a pistol at Keaton. Keaton turns to face him and raises his head. McManus might as well be pointing a feather-duster.
MCMANUS
YOU WILL FIND TIME. You're not the only one with
debts, man.
KEATON
No shovel.
MCMANUS
WITH OUR HANDS.
EXT. BEACH
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.
HOCKNEY
This is nuts.
MCMANUS
Dig.
HOCKNEY
This is fucking dry sand, man. When he rots, the
surfers'll smell him from a hundred yards out.
MCMANUS
DIG, 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.
HOCKNEY
Keaton, we gotta go. They're gonna find him.
KEATON
Dig.
VERBAL
What are we gonna do?
HOCKNEY
I can run. I got no problem with that.
KEATON
They don't seem to have a problem with it either.
MCMANUS
Nobody runs.
HOCKNEY
This ain't my boy we're burying. I don't owe anybody.
