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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
We got a deal here.
HOCKNEY
Since when?
MCMANUS
Since tonight.
HOCKNEY
Fuck that.
MCMANUS
It's payback.
KEATON
IT'S NOT PAYBACK. I don't answer to you. It's
precaution. You want payback? You want to run? I don't care. I'm going to
finish this thing. Not for Fenster, not for anybody else, but for me. This
Kobayashi cocksucker isn't going to stand over me.
(beat)
All of you can go to hell.
Keaton turns and digs furiously with both hands. Hockney takes a moment and slowly starts to do the same.
The four men dig for Fenster. The first to find some rest.
Verbal smokes with his good hand shaking badly.
KUJAN
And after they killed Fenster nobody would run?
VERBAL
I wanted to. I thought we could make it.
KUJAN
Why didn't you say anything?
VERBAL
I tried, believe me, but Keaton wouldn't have it. It
was too far-fetched for him. Keaton was a grounded guy. An ex-cop. To a cop,
the explanation is never that complicated. It's always simple. There's no
mystery on the street, no arch-criminal behind it all. If you got a dead guy
and you think his brother did it, you're going to find out you're right. Nobody
argued with Keaton. They just set their minds on whacking Kobayashi.
EXT. PARKING LOT – NIGHT – TWO WEEKS PRIOR
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.
INT. OFFICE BUILDING – 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.
HOCKNEY
He's coming up.
INT. HALLWAY – FORTIETH 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 behind
him, he scrambles for the ceiling hatch.
Keaton and Verbal listen for anything on the radio.
INT. LOBBY
The elevator opens. Kobayashi and his bodyguards get on the elevator.
INT. 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.
MCMANUS
Press forty.
INT. HALLWAY – FORTIETH FLOOR
The elevator opens and Kobayashi is greeted by Keaton and Verbal. McManus drops from the ceiling hatch and pushes him out.
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.
KOBAYASHI
Mr. Soze will be most -
KEATON
Listen to me, cocksucker. There is no Keyser Sate. If
you say his name again, I'll kill you right here.
KOBAYASHI
A strange threat. I can only assume you're here to
kill me anyway. Pity about Mr. Redfoot.
MCMANUS
Fair trade for Fenster.
The elevator opens and Hockney steps out.
KOBAYASHI
Ahh, Mr. Hockney. Do join us.
KEATON
We know you can get to us, and now you know we can get
to you. I'm offering you the chance to call this off.
KOBAYASHI
Mr. So... My employer has made up his mind. He does
not change it.
KEATON
Neither do we.
MCMANUS
You got Fenster, you may get more, but you won't get
us all. Not before one of us gets to you.
KOBAYASHI
I believe you, Mr. McManus. I quite sincerely do. You
would not have been chosen if you were not so capable, but I cannot make this
decision. Whatever you can threaten me with is... ludicrous in comparison to
what will be done to me if...
MCMANUS
Just so you know. I'm the guy. I'm the one that's gonna
get through to you.
KOBAYASHI
I am sorry, Mr. McManus.
(to Keaton)
I implore you to believe me, Mr. Keaton. Mr. Soze is
very real and very determined.
KEATON
We'll see.
McManus holds a pistol to Kobayashi's chin. The lawyer's cool eyes never falter.
KOBAYASHI
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.
KEATON
What did you say?
KOBAYASHI
Edie Finneran. She is upstairs in my office for an
extradition deposition. I requested she be put on the case personally. She flew
out yesterday.
Everyone looks at Keaton.
KOBAYASHI (CONT'D)
No matter. Kill away, Mr. McManus.
KEATON
You're lying.
KOBAYASHI
Am I?
INT. HALLWAY – FIFTIETH 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.
They come to a glass office foyer. Kobayashi gestures and everyone
looks through the glass into the lobby beyond.
EDIE FINNERAN is talking casually
with the receptionist.
INT. LOBBY
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.
KOBAYASHI
Ms. Finneran's escort in Los Angeles. Never leaves her
for a moment. I thought you'd like to know she was in good hands.
Keaton's mind races for an alternative. He can find none. Verbal lowers his gun without being told.
KOBAYASHI (CONT'D)
Get your rest, Gentlemen. The boat will be ready for
you on Friday. If I see you or your friends before then, or fail to check in
every half hour with that unpleasant looking man in there, Ms. Finneran will
find herself the victim of a gruesome violation before she dies. As will your
father, Mr. Hockney. and your Uncle Randall in Arizona, Mr. Kint. I might only
castrate Mr. McManus' nephew, David. Do I make myself clear?
All of the men surround Kobayashi, aching to kill him.
KOBAYASHI
I'll 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.
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.
EXT. HILLSIDE ROAD – DAY
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.
It's a logistical nightmare. Close quarters, no
advance layout, ten men, maybe twenty.
HOCKNEY
Can we stealth these guys?
KEATON
Doubtful. With all that coke, they'll be ready – which
brings me to sunny spot number two. Even if one of us gets through and jacks
the boat, we get nothing.
MCMANUS
And if we wait for the money?
KEATON
Ten more men at least. In my opinion, it can't be
done. Anyone who walks into this won't come out alive.
MCMANUS
I'm for waiting for the money.
HOCKNEY
Me too.
VERBAL
Did you hear what he just said?
HOCKNEY
If I'm going in, I want a stake.
MCMANUS
So do I.
Verbal is shocked by what he is hearing. He looks at Keaton as if to ask him for his decision.
Keaton's cold stare is all the answer Verbal needs. He slumps in his
seat, resigned to the others.
VERBAL
I just can't believe we're just gonna walk into
certain death.
Pause.
They all suddenly realize the weight of their situation.
Finally:
News said it's raining in New York.
No one knows quite how to respond.
EXT. PIER – SAN PEDRO – NIGHT
A large boat, sleek and yacht-like, but without finesse. This is a
boat for business – heavy and fast. It is moored to the pier.
A large crane hoists a pallet of fuel drums from the dock. It swings
slowly over the boat. A man on the dock yells in Spanish to the crane operator.
Behind an old and weathered boat in dry-dock, Keaton and Verbal watch the boat from the shadows.
VERBAL
What are they speaking?
KEATON
Russian, I think. I don't know.
VERBAL
Hungarian?
KEATON
Knock it off.
DOLLY OVER TO REVEAL:
McManus climbing up the side of the boathouse.
CONTINUE PAST HIM TO REVEAL:
A large boat. A very large boat.
EXT. BARGE
Hockney maneuvers through a mesh of twisted steel, arriving at a vantage point near the stern of the large boat.
HOCKNEY'S POV
A black van pulls up and parks near the crane. Four men in suits get
out. One remains with the van and the other three walk toward the boat.
On the boat, five men come up from below deck. They are tense and
cautious around the men in suits. Someone speaks in Spanish and someone else in
Russian. It takes a moment before anyone speaks the same tongue. They settle on
French for both negotiators.
Hockney sits in the van. He handles a large shoulder bag stuffed
with plastique. He tests a timer on top.
He picks up a walkie-talkie.
Are we ready, kids?
EXT. BOATHOUSE – ROOF
McManus is positioning himself on the roof of the boathouse. He stops and grabs his radio.
MCMANUS
If I didn't have to stop and answer you, I would be.
EXT. BOATHOUSE
KEATON
(into radio)
Everyone shut up. I'm ready. McManus, you better be
set up in ten seconds.
MCMANUS
(on radio)
I'm there.
KEATON
(to Verbal)
I want you to stay here. Understand?
VERBAL
But I'm supposed to –
KEATON
If we don't make it out, I want you to take the money
and go.
VERBAL
(confused)
Keaton, I can't just –
KEATON
I want you to find Edie. Both of you find some place
safe. Tell her what happened – everything. She knows people. She'll know what
to do. If we can't get Kobayashi my way, she'll get him her way.
VERBAL
What if I.
KEATON
Just do what I tell you.
Keaton turns and takes a few steps. He stops and looks back, his face marked with guilt and agony.
KEATON (CONT'D)
Tell her I... Tell her I tried.
Keaton leaves before Verbal can respond. He walks down a ramp toward the boat.
He is no more than a few yards out of the shadows before the first
man sees him.
EXT. DOCK
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 spies Keaton. He pulls his head back and sticks out the barrel of the rifle.
Keaton comes to a stop about twenty feet from fifteen men all
together.
EXT. BOATHOUSE – ROOF
MCMANUS'S POV
McManus stares through the scope of his rifle at the scene. The cross-hairs breeze past Keaton and find a target. A man in a suit.
MCMANUS
Pow.
He moves to another and then another, picking up speed and mock-shooting the men. He is steady and quick. It is clear he could take all fifteen in a few seconds.
MCMANUS (CONT'D)
Pow-pow-pow-pow-pow-pow. Oswald was a fag.
EXT. DOCK
