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Scene Map 34
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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THE USUAL SUSPECTS by Christopher McQuarrie FOR EDUCATIONAL PURPOSES ONLY Revised, 05/25/94
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3 INT. DARK APARTMENT - DAY - NEW YORK - SIX WEEKS PRIOR TO 3 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
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7 INT. RESTAURANT - DOWNSTAIRS 7 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
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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
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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
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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
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19 EXT. PIER - DAY - SAN PEDRO - PRESENT DAY 19 It is morning in the aftermath of the opening scene. Harsh sunlight shines on a line of body bags on the dock. Police swarm everywhere, photographers are taking pictures of the scene while a team of men in rolled up sleeves and
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22 INT. POLICE STATION - HALLWAY - DAY 22 David Kujan is walking quickly beside SERGEANT RABIN, a dark and weathered looking man in his late thirties. They move up a staircase into the heart of police headquarters. KUJAN
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25 INT. HOSPITAL ROOM 25 (<< .. DENOTES LINES SPOKEN IN HUNGARIAN) Baer comes to an abrupt halt at the foot of a bed surrounded by a massive tangle of medical equipment. In the center of it all is the as yet unnamed ARKOSH KOVASH, mid-thirties. His
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29 INT. RABIN'S OFFICE 29 VERBAL Sure. Fifteen years ago, but he was a good thief Anyway, the cops wouldn't let him go legit.
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30 EXT. POLICE STATION - NIGHT - NEW YORK - SIX WEEKS PRIOR 30 Keaton stops at the top of the front steps of the police station and lights a cigarette. Edie comes out behind him, fuming mad. EDIE
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32 INT. EDIE'S APARTMENT 32 Verbal walks in and sits down on the couch, watching Keaton cautiously. He looks around the large apartment, beautifully furnished and decorated. SCRIPT DATE 5/25/94
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33 EXT. KENNEDY AIRPORT - DAY 33 VERBAL (V.O.) New York's finest Taxi Service was not your normal taxi service. It was a ring of corrupt cops in the N.Y.P.D. that ran
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41 INT. POLICE CAR 41 McMANUS The money. Strausz looks at Rizzi. MCMAMJS THE MONEY. LET'S HAVE IT. Rizzi hands the money through the remains of the windshield.
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47 INT. RABIN'S OFFICE -DAY - LOS ANGELES - PRESENT 47 KUJAN Heartwarming. Really, I feel weepy. VERBAL You wanted to know what happened after
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51 INT. RABIN'S OFFICE 51 KUJAN He was dead just long enough for a murder rap to blow over, then he had lunch. SCRIPT DATE 5/25/94
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53 INT. HOSPITAL - DAY 53 (<< >> DENOTES LINES SPOKEN IN HUNGARIAN) Kovash's room is now filled with people. Jack Baer stands next to DANIEL METZHEISER, a balding man in his forties. Next to him is Doctor Plumber. Across from her is Ridgly Waiters.
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55 EXT. FRIENDSHIP BELL - NIGHT 55 All five guys stand in a group. It is utterly quiet. An old but well kept Cadillac creeps into the lot from the far end and idles up to them. The windows are tinted too much to see in. The car passes within a few feet of them and drives on.
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56 INT. PARKING GARAGE - NIGHT 56 McManus walks along a line of cars. He comes across a black Mercedes and stops. He looks down at the license plate and walks over to the next car, a green Honda. He pulls a slim- jim out of his jacket and pops the lock an the Honda. He
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59 INT. VAN 59 The mood in the van is grim. Everyone is silent. Keaton pops the clasps on the case and opens it. KEATON Son of a bitch.
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62 INT. OUTSIDE RABIN'S OFFICE 62 Kujan smiles instantly, recognizing the man standing with Rabin. KUJAN Jack. What are you doing here?
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64 INT. HOLLYWOOD ATHLETIC CLUB - DAY - TWO WEEKS PRIOR 64 Keaton stands while the rest sit and listen. KEATON So I need to know if anyone can think of anybody. Somebody with power. Enough to
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65 INT. RABIN'S OFFICE - DAY - PRESENT 65 Kujan leans into Verbal's face. He hangs on his every word. 92. VERBAL He is supposed to be Turkish. Some say
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71 INT. RABIN'S OFFICE 71 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,
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76 EXT. BEACH - NIGHT - TWO WEEKS PRIOR 76 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
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86 INT. HALLWAY 86 Keaton and Verbal listen for anything on the radio. 87 SCENE DELETED 87 88 SCENE DELETED 88 105.
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93 INT. LOBBY 93 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.
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100 EXT. BOATHOUSE.-- ROOF 100 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,
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113 EXT. DOCK 113 Hockney is firing in all directions. SUDDENLY, he realizes no one is left on the dock. PAUSE 117.
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125 INT. CORRIDOR 125 JAIME, one of the men from the boat, is half-pushing, half- helping a thin and sweaty looking MAN IN A CHECKERED BATHROBE towards a cabin at the end of the hall. The man in the robe is trembling. He seems stricken with
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135 EXT. PIER 135 SUDDENLY, Verbal realizes something. He turns and goes to call out a warning to Keaton. He is too late. 136 EXT. DECK 136 Keaton never sees the crane coming.
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141 INT. RABIN'S OFFICE - DAY - PRESENT 141 KUJAN Arturo Marquez. Ever hear of him? VERBAL Wha- No.
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142 INT. HOSPITAL - DAY 142 Daniel Metzheiser comes out of Arkosh Kovash's room with a single sheet of 15x20 inch paper in his hand. He inspects the sketch with great interest. He folds the edges of the paper back to make it smaller.
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152 INT. DEPOT 152 Kujan runs up to the desk where Verbal had only moments before picked up his belongings. Rabin is right behind him, a look of absolute confusion on his face. KUJAN

The usual suspects

A seemingly random police lineup throws together five criminals who plan a heist that spirals into a complex web of deceit and murder.

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Overview

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Unique Selling Point

This intricate and captivating screenplay stands out in the crime genre through its unique combination of elements that create a gripping and immersive experience for the audience. The script features a diverse cast of morally complex characters who navigate a dangerous criminal underworld filled with high-stakes choices and unforeseen consequences. The innovative storytelling techniques, including unexpected plot twists, intense confrontations, and psychological mind games, keep the audience on the edge of their seats. This script promises a compelling journey into the depths of crime, morality, and the human psyche, leaving a lasting impression on those who witness its unfolding narrative.

AI Verdict & Suggestions

This rating is from a single AI engine based on structure, character, tone, and emotional engagement.

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GPT4
 Recommend
Story Facts

Genres: Crime, Thriller, Drama, Mystery

Setting: Contemporary, Various locations in New York City and Los Angeles

Themes: Crime and Corruption, Identity and Betrayal, Power and Control, Love and Loss

Conflict & Stakes: The primary conflict revolves around the characters' entanglement with Keyser Soze, a dangerous criminal mastermind, and the stakes involve their lives and freedom as they navigate a web of deception and betrayal.

Mood: Dark, suspenseful, and mysterious

Standout Features:

  • Twist Ending: The iconic twist ending that redefines the entire narrative and leaves audiences in shock.
  • Complex Characters: Memorable and multi-dimensional characters that add depth and intrigue to the story.
  • Suspenseful Atmosphere: The tense and suspenseful atmosphere created through clever storytelling and visual elements.
  • Mystery Elements: The intricate mystery elements that keep viewers guessing and engaged throughout the film.

Comparable Scripts: Reservoir Dogs, The Usual Suspects, Pulp Fiction, The Departed, The Wire, Breaking Bad, The Godfather, Goodfellas, Scarface, The Town

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

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Overall Score: 8.46
Story Critique
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Characters

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Emotional Analysis

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Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
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Scene Analysis

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Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
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Writer's Craft
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Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
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World Building
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Correlations
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Loglines
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