Usual Suspects, The Script
1 -BLACK
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
sirens.
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 un-lit
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
looks down.
A thin trail of liquid runs past his feet and off into the
darkness. Keaton lights the cigarette on the burning pack of
matches before throwing them into the liquid.
The liquid 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 himself.
The flame is within a few yards of the barrels when another
stream of liquid splashes onto the gas. The flame fizzles out
pitifully with a hiss.
Two feet straddle the flame. A stream of urine flows onto the
deck from between them.
BLUE 06/01/94
2.
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,
somewhat showy.
Keaton looks up at the man. A look of realization crosses his
face. It is followed by frustration, anger, and finally
resignation.
VOICE (O.S.)
How are you, Keaton?
KEATON
I’d have to say my spine was broken,
Keyser.
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.
VOICE (O.S.)
Ready?
KEATON
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.
VOICE (O.S.)
Twelve thirty.
Keaton grimaces bitterly and nods. He turns his head away and
takes another drag.
The hand with the gun waits long enough for Keaton to enjoy
his last drag before pulling the trigger.
GUNSHOT
The sound of Keaton’s body slumping onto the deck.
YELLOW 06/11/94
3.
MOVE OUT ACROSS THE DECK. Below is the stream of gasoline
still flowing freely.
The sound of the gasoline igniting. The flame runs in front
of us towards the barrels, finally leaping up in a circle
around the drums, burning the wood of the pallet and licking
the spouting stream as it pours from the hole.
MOVE OUT ACROSS THE DOCK, away from the boat.
The pier to which the boat is moored is littered with DEAD
BODIES. Twenty or more men have been shot to pieces and lie
scattered everywhere in what can only be the aftermath of a
fierce fire-fight.
A BARGE COMES 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
darkness.
SUDDENLY, AN EXPLOSION.
Then silence. TOTAL BLACKNESS.
We hear the voice of ROGER "VERBAL" KINT, whom we will soon
meet.
VERBAL (V.O.)
New York. - six weeks ago. A truck loaded
with stripped gun parts got jacked
outside of Queens. The driver didn’t see
anybody, but somebody fucked up. He heard
a voice. Sometimes, that’s all you need.
YELLOW 06/11/94
4.
BOOM
3 INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIOR TO
PRESENT DAY
The black explodes with the opening of a door into a dark
room. Outside, the hall is filled with blinding white light.
Shadows in the shapes of men flood into the room. We can make
out men in hoods with flashlights. They are laden with
weapons.
VOICES
POLICE. SEARCH WARRANT. DON’T MOVE.
It is a blur of violent action and sound.’Beams of
flashlights cut the darkness in all directions.
FINALLY:
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.
VOICE (O.S.)
Mr. McManus?
McMANUS
Yeah.
VOICE (O.S.)
Police. We have a warrant for
your arrest.
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:
YELLOW 06/11/94
4A .
A row of five men silhouetted by the bright sun.
Hockney squints.
YELLOW 06/11/94
5.
HOCKNEY
Can I help you?
Hockney’s voice is gruff.
MAN
Todd Hockney’
Hockney reaches for something just inside the door of the
Fire-bird.
HOCKNEY
Who are you?
All six men INSTANTLY PRODUCE GUNS and aim them at Hockney.
MAN
Police.
Hockney withdraws a filthy towel and wipes grease and sweat
from his forehead.
HOCKNEY
We don’t do gun repair.
S EXT. STREET - NEW YORK - DAY
FRED FENSTER, a tall, thin man in his thirties strolls
casually down the street. He is dressed conspicuously in a
loud suit and tie with shoes that have no hope of matching.
He smokes a cigarette and chews gum at the same time.
He happens to glance over his shoulder and notice a brown
Ford sedan with four men in it cruising along the curb. He
picks up his step a little. The Ford keeps up.
He looks ahead at the corner. He tries to look as comfortable
as he can, checking his watch as though remembering an
appointment he is late for. The Ford stays right on him.
SUDDENLY, he bolts. He gets no more than a few yards before
cars pour out of every conceivable nook and cranny. Brakes
are squealing, radios squawking, guns cocking. Fenster is
surrounded instantly. He stops short and flaps his hands on
his thighs in defeat.
6 INT. MONDINO’S RESTAURANT - DAY
An attractive man and woman walk quickly through the front of
a small New York cafe. They are charged with nervous, excited
energy.
YELLOW 06/11/94
5A.
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.
BLUE 06/01/94
6.
They come to a staircase at the back of the restaurant
leading down to a dark room. Edie takes Keaton’s arm and
stops him.
EDIE
Let me look at you.
Keaton is uncomfortable in his suit, or perhaps the
situation. Still, he smiles with genuine warmth.
Edie straightens his tie and picks microscopic imperfections
from his lapel.
EDIE (CONT’D)
Now remember, this is another kind of
business. They don’t earn your respect.
You owe it to them. Don’t stare them down
but don’t look away either. Confidence.
They are fools not to trust you. That’s
the attitude.
KEATON
I’m having a stroke.
EDIE
You’ve come far. You’re a good man. I
love you.
Keaton blinks then stammers, looking for a response.
PAUSE
EDIE (CONT’D)
Live with it.
She kisses him and runs down the steps with Keaton close
behind. Keaton playfully grabs her ass and she nearly
stumbles down the stairs.
7 INT. RESTAURANT - DOWNSTAIRS
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.
YELLOW 06/11/94
7.
FORTIER
Edie, nice to see you.
EDIE
Sorry we’re late.
FORTIER
Nonsense. Sit, please.
RENAULT
(struggling with English)
You must be Mr. Keaton.
EDIE
I’m sorry. Dean Keaton
Renault’s hand is already out.
RENAULT
Monsieur Renault. A pleasure.
KEATON
How do you do?
They shake hands. Keaton takes Fortier’s hand next.
FORTIER
Monsieur Fortier. So nice to finally meet
you.
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.
YELLOW 06/11/94
7A.
PAN UP TO REVEAL:
SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S.
CUSTOMS. Thirtyish, dark-haired and determined.
9 SCENE DELETED
9’
PINK 06/07/94
8.
10 INT. RESTAURANT - DOWNSTAIRS 10
FORTIER
Edie brought us your proposal and I’ll be
honest. We’re very impressed. A bit
skeptical, I must admit, but impressed.
KEATON
Skeptical.
RENAULT
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.
KEATON
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.
FORTIER
This was the part of the proposal that
intrigued us, but I’m not sure I follow.
KEATON
Let’s say for example -
VOICE (O.S.)
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 them.
KEATON
Dave. I’m in a meeting.
KUJAN
Time for another one.
KEATON
This is my attorney, Edie Finneran.
(Gesturing)
BLUE 06/01/94
9.
KEATON (cont’d)
This is Mr. Renault and Mr. Fortier.
Everyone, this is David Kujan.
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.
RENAULT
Is there a problem, Mr. Keaton?
KUJAN
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.
FORTIER
Mr. Keaton?
KEATON
If you will excuse us for a moment,
gentlemen.
KUJAN
We need to ask you some questions
downtown. You’ll be quite awhile.
Renault starts to get up.
RENAULT
We should leave you to discuss whatever
this is.
KEATON
Please. Sit.
Keaton stands up and throws a wad of money on the table to
cover the check. He looks at Edie. She moves to stand, but he
sits her back down with a hand on her shoulder.
KEATON
Enjoy the meal.
(To Edie)
I’LL call you.
Kujan takes him by the arm, but Keaton yanks away.
YELLOW 06/11/94
10.
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.
11 INT. LOCK-UP HALLWAY - NIGHT 11’
A police officer steps into the frame and opens the steel
door.
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
rivets.
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. t
Verbal steps through the door, followed by the rest.
VERBAL (V.O.)
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
11.
Bright lights shine on all of them. They squint, eyes
adjusting.
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.
McMANUS
(To Keaton)
Where you been, man?
VOICE (O.S.)
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.
VOICE (O.S.)
Number one. Step forward.
Hockney takes a step forward. 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.
HOCKNEY
Hand-me-the-keys, you-fucking-cock-
sucker.
VOICE (O.S.)
Number two. Step forward.
McManus steps up and makes a gun with his thumb and
forefinger. He mocks criminal intensity, pointing at the
mirror. He camps up his line.
McMANUS
Give me the keys, you motherfucking,
cocksucking pile of shit, or I’ll rip off
your
VOICE (O.S.)
KNOCK IT OFF. Get back in line.
McManus steps back.
The rest of the men do their bit as Verbal speaks.
BLUE 06/01/94
12.
VERBAL (V.O.)
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.
OVERLAPPED:
MCMANUS
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,
VOICE (O.S.)
Are you done?
McManus
Do you work for a broad? That would
have to be the worst.
VOICE (0.8.)
Are you done?
McMANUS
Still, I guess dignity is a small
pries to pay for medical and a
pension. A small pension, mind you,
but a pension nonetheless.
VERBAL (V.O.)
They drilled us all night. Somebody was
pissed about that truck getting knocked
off and the cops had nothing. They were
hoping somebody would slip. Give them
something to go on. They knew we wouldn’t
fight it because they knew how to lean on
us. They’d been doing it forever. Our
rights went right out the window. It was
a violation. I mean disgraceful.
BLUE 06/01/94
12A.
VERBAL (V.O.)
They went after McManus first. He was a
good guy. Crazy though. A top notch entry
man .
VOICE (O.S.)
So where’d you dump the truck?
McMANUS
What truck?
VOICE (O.S.)
The truck with the guns, fucko.
McMANUS
You kill me, you really do. Where’s my
phone call?
VOICE (O.S.)
Right here. Suck it out.
McMANUS
Clever guy.
VOICE (O.S.)
You want to know what your buddy Fenster
told us?
BLUE 06/01/94
13.
McMANUS
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.
VOICE (O.S.)
WHERE’S THE FUCKING TRUCK?
14 INT. INTERROGATION ROOM 14
Now Fenster is in the seat. He sweats profusely.
FENSTER
I want to call my lawyer. I don;’t know
about any truck. I was in Connecticut all
night on Friday.
VOICE (O.S.)
That’s not what McManus said.
OVERLAPPED:
FENSTER
Who?
VOICE (0.8.)
McManus. Be told us another story
altogether.
FENSTER t
Was it the one about the hooker with
dysentery I swear , she never
mentioned money until I came.
VOICE (O.S.)
Be fold us about the truck.
FENSTER s
To be honest, it was more like a +
mobile home. She made a lot of money, t
VOICE (O.S.) +
Who took the guns off your hands?
FENSTER
Hey, are we talking about the same
thing?
VOICE (O.S.)
I’m losing my patience.
BLUE 06/01/94
13A.
VERBAL (V.O.)
Fenster always worked with McManus. He
was a real tight-ass, but when it came to
the job, he was right on. Smart guy. A
gopher. Got whatever you needed for next
to nothing.
FENSTER
You guys got nothing on me. Where’s your
probable cause?
VOICE (O.S.)
You’re a known hijacker. You’re sweating
like a guilty motherfucker. That’s my
p.c. Save us the time. Tell us where the
truck is.
Fenster knocks on the table.
FENSTER
HELLO? Can you hear me in the back? P.C.
He looks under his chair.
FENSTER (CONT’D)
Where is it? I’m lookin’. It’s not
happening. What’s going on with that? I
want
BLUE 06/01/94
14.
15 INT. INTERROGATION ROOM
15
Hockney’s turn in the chair. He laughs it all off.
HOCKNEY
- my lawyer. I’ll have your badge,
cocksucker.
OVERLAPPED:
HOCKNEY (CONT’D)
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 stand on.
VERBAL (V.O.)
Hockney was just a bad bastard. Good with
explosives. Mean as a snake when it
mattered .
VOICE (O.S.)
You think so, tough guy? I can put you in
Queens the day of the hijacking.
HOCKNEY
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?
VOICE (O.S.)
You know what happens if you do another
turn in the joint?
HOCKNEY
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.
VERBAL (V.O.)
Keaton was the real prize for them, for
obvious reasons.
VOICE (O.S.)
I’ll charge you when I’m ready.
BLUE 06/01/94
14A.
KEATON
with what?
VOICE (O.S.)
You know damn well, dead-man.
KEATON
Hey, that was your mistake, not mine. Did
you ever think to ask me? I’ve been
YELLOW 06/11/94
15.
KEATON (cont’d)
walking around with the same face, same
name - I’m a businessman, fellas.
VOICE (O.S.)
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
home.
KEATON
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
18 INT. CELL BLOCK 18
Keaton is brought in to a holding where he joins Fenster,
Hockney, Verbal and McManus. He sits in a corner and keeps to
himself.
Fenster is in mid-tirade.
FENSTER
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,
looking away.
HOCKNEY
These guys got no probable cause.
SCRIPT DATE 5/25/94
16.
FENSTER
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
criminal.
HOCKNEY
You are a criminal.
FENSTER
Why you gotta go and do that? I’m trying
to make a point.
KEATON
Then make it. Christ, you’re making me
tired all over.
McManus looks at Keaton.
McMANUS
I heard you were dead, Keaton.
KEATON
You heard right.
HOCKNEY
The word I got is you hung up your spurs,
man. What’s that all about?
McMANUS
What’s this?
HOCKNEY
Rumor has it, Keaton’s gone straight -
cleaning house. I hear he’s tapping Edie
Finneran.
McMANUS
Who?
HOCKNEY
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.
(To Keaton)
Is it true?
McMANUS
What about it, Keaton? You a lawyer’s
wife. What sort of "retainer" you giving
her?
SCRIPT DATE 5/25/94
17.
Keaton shoots McManus a fiery glare.
FENSTER
I’d say you’ve gotten on his main and
central nerve, McManus.
KEATON
Do your friend a favor, Fenster, keep him
quiet .
McMANUS
You’re clean, Keaton? Say it ain’t so.
Was it you that hit that truck?
FENSTER
Forget him. It’s not important. I was
trying to make a point.
KEATON
(Ignoring McManus)
This whole thing was a shakedown.
McMANUS
What makes you say that?
KEATON
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 that.
FENSTER
So why the hell was I hauled in and
cavity searched tonight?
KEATON
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.
FENSTER
I had a guy’s fingers in my asshole
tonight.
HOCKNEY
Is it Friday already?
SCRIPT DATE 5/25/94
18.
FENSTER
Fuck you. I’11 never shit right again. So
who did it? Own up.
KEATON
I don’t want to know.
McMANUS
Nobody asked you, workin’-man.
HOCKNEY
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.
KEATON
He’s alright.
HOCKNEY
How do I know that? How about it,
pretzel-man? What’s your story?
KEATON
His name is Verbal Kint. I thought you
guys knew him.
McMANUS
Verbal?
VERBAL
Roger really. People say I talk too much.
HOCKNEY
Yeah, I was gonna tell you to shut up.
KEATON
We’ve met once or twice. Last time was
in...
VERBAL
County. I was in for fraud.
KEATON
You were waiting for a line-up then, too.
What happened with that?
VERBAL
I walked. Ninety days, suspended.
&nb