The Usual Suspects Page #3

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-f***ing-cock-

sucker.

VOICE (O.S.)

Number two. Step forward.

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