The Usual Suspects

 

 

 

Screenplay by                             Christopher McQuarrie

 

Produced by                               Michael McDonnell

                                                 Bryan Singer

 

Directed by                                Bryan Singer

 

 

 

Cast List:

 

Stephen Baldwin                      McManus

Gabriel Byrne                          Keaton

Chazz Palminteri                      Dave Kujan

Kevin Pollak                            Hockney

Pete Postlethwaite                   Kobayashi

Kevin Spacey                           Verbal

Suzy Amis                                 Edie Finneran

Benicio del Toro                                  Fenster

 

 

 

 

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.

 

 

EXT. BOAT – NIGHT – STERN

 

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.

 

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.

 

 

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.

 

BOOM!

 

 

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.

 

 

INT. AUTO BODY SHOP – DAY

 

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 squints.

 

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.

 

 

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.

 

 

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.

 

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 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.

 

 

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.

 

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.

 

 

INT. MONDINO'S RESTAURANT

 

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.

 

 

 

INT. RESTAURANT – DOWNSTAIRS 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)

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.

 

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.

 

 

INT. LOCK-UP HALLWAY – NIGHT

 

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.

 

 

INT. LINE-UP ROOM

 

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.

 

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.

 

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?

 

 

INT. INTERROGATION ROOM – NIGHT

 

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 (O.S.)

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.

 

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?

 

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?

 

 

INT. INTERROGATION ROOM

 

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 (O.S.)

McManus. Be told us another story altogether.

 

FENSTER

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

To be honest, it was more like a mobile home. She made a lot of money.

 

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.

 

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

 

 

INT. INTERROGATION ROOM

 

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.