Syrion Forel: You are late, boy. Tomorrow you
will be here at midday.
Arya Stark: Who are you?
Syrion Forel: Your dancing master, Syrio Forel. Tomorrow
you will catch it. Now pick it up. That is not the way, boy. This is not a
great sword that is needing two hands to swing it.
Arya Stark: It's too heavy.
Syrion Forel: It is heavy as it
needs to be to make you strong. Just so. One hand is all that is needed. Now
you are standing all wrong. Turn your body side face. So. You are skinny. That
is good. The target is smaller. Now the grip... Let me see. The grip must be
delicate.
Arya Stark: What if I drop it?
Syrion Forel: The steel
must be part of your arm. Can you drop part of your arm? No. Nine years Syrio
Forel was first sword to the Sealord of Braavos. He knows these things. You
must listen to me, boy.
Arya Stark: I'm a girl.
Syrion Forel: Boy, girl... You
are a sword, that is all. That is the grip. You are not holding a battle-axe.
You are holding...
Arya Stark: a
needle.
Syrion Forel: Just
so. Now we will begin the dance. Remember, child,
this is not the dance of the Westeros we are learning... the knight's dance,
hacking and hammering. This is the Bravo's dance...the water dance. It is swift
and sudden. All men are made of water, do you know this? If you pierce them,
the water leaks out and they die. Now you will try to strike me. Up! Dead.
Dead. Very dead. Come. Again, faster.
Three of the Hungarians come bursting into Keyser Soze's
home. They grab his five children and round them up in the
front room. One of the men grabs his wife and back-hands her
across the face.
VERBAL (V.O.)
They come to his home in the afternoon
looking for his business. They find his
wife and kids in the house and decide to
wait for Sate.
INT. SOZE'S HOME - LATER
The front door opens and in walks Keyser Sate. We are never
allowed to see his face.
Sate's wife lies in the corner, beaten and bruised. Her dress
is tattered to shreds. She cannot look up at her husband.
The three Hungarians stand to greet him. Two hold guns in
their hands. The third holds a straight razor. He grabs
Soze youngest boy and holds the razor to his throat.
VERBAL (V.O.)
He comes home to his wife raped and his
children screaming. The Hungarians knew
Soze was tough. Not to be trifled with.
So they let him know they meant business.
The Hungarian smiles. Soze's wife SCREAMS IN HORROR.
The Hungarian holds up a BLOOD SOAKED RAZOR.
SUDDENLY, he grabs another child. A little girl no older than
six.
VERBAL (V.O.)
They tell Soze they want his territory -
all his business. Soze looks over the
faces of his family... Then he showed
these men of will what will really was.
SUDDENLY, Soze pulls out a pistol and shoots the two men with
guns. He turns and aims at the third man holding his child.
The man threatens to cut the child's throat, slicing just
enough to draw blood.
SOZE FIRES.
The stunned Hungarian watches the child fall from his arms.
Sate turns the pistol on the next child, then the next and
the next. He kills his children one by one in front of the
Hungarian.
VERBAL (V.O.)
He tells him he would rather' see his
family dead than live another day after
this.
SOZE walks over to his wife, crying and beaten on the floor
and holds up her head. She gives him the strangest look. One
of trust perhaps, saturated with fear and humiliation.
He puts the gun between her eyes and fires.
VERBAL (V.O.)
He lets the last Hungarian go, and he
goes running. He waits until his wife and
kids are in the ground and he goes after
the rest of the mob. He kills their kids,
he kills their wives, he kills their
parents and their parents' friends.
A dark and looming figure of a man walks in front of a wall
of fire - a black shadow blurred by waves of heat.
VERBAL (V.O.)
He burns down the houses they live in and
the stores they work in, he kills people
that owe them money. And like that he was
gone. Underground. No one has ever seen
him again. He becomes a myth, a spook
story that criminals tell their kids at
night. If you rat on your pop, Keyser
Sate will get you. And nobody really ever
believes.
INT. RABIN'S OFFICE - DAY
KUJAN
Do you believe in him, Verbal?
VERBAL
Keaton always said: "I don't believe in
God, but I'm afraid of him." Well I
believe in God, and the only thing that
scares me is Keyser SOZE.
Extra: Kevin Spacey winning an Oscar for The Usual Suspects.
Dianne Wiest:
thank you. The category Best
Supporting Actor might be a little misleading. In any role of every size each
actor supports every other actor in the cast. Though the dynamic characters
they portrayed five actors each nominated for the first time gave their
strength and spirit to their fellow actors and gifted us with striking
performances. For Best Actor in a Supporting role the nominees are:
James
Cromwell in Babe
Ed
Harris in Apollo 13
Brad
Pitt in 12 monkeys
Tim Roth
in Rob Roy
Kevin
Spacey in the Usual Suspects
…And the
Oscar is presented to Kevin Spacey in the Usual Suspects.
Kevin Spacey: Well, whoever Kaiser Soze is, I can tell you
he's going to get gloriously drunk tonight. And that's a question that I'm
often asked: Who is Kaiser Soze? And I've always been very cryptic about
my answer. But tonight I'm going to tell you who Kaiser Soze is for me. The
person who pulls the strings, the person who manipulates, who hovers over us,
who gives us life and breath. For me, Kaiser Soze is Bryan Singer the director
of this film. And I thank him for his friendship and for giving me an
extraordinary part and for making me a better actor i ever thought I could be.
I have dreamt of a moment like this my whole life. I thank my manager Joanne,
my agent Brian Gersh. And on a personal note to my mother, I'm so proud that
you can be here tonight. Thank you so much. Thank you so much, Mom, for driving
me to those acting classes on Ventura Boulevard. when I was sixteen. I told you
they would pay off! And here's the pudding. Thank you.
Robert JR.: Y’
know livin’ with you, it hasn’t been easy. People see me, but they think
of you. Now with this thing going on, it’s going to be worse than ever.
Rocky:
don’t have to be
Robert JR.: Sure
it does!
Rocky:why, you got a lot going on
kid.
Robert JR.:
What? My last name? That’s the reason I got a decent job, that’s the reason
people even deal with me in the first place. Now I start to get a little ahead,
I start to get a little something for myself, and this happens – now, I’m
asking you as a favor not to go through with this, ok? This is only gonna end
up bad for you and is gonna end up bad for me.
Rocky: you think I’m jurtin’ you?
Robert JR.: yeah,
in a way you are!
Rocky:is the last thing I ever
wanted to do.
Robert JR.: I
know that’s not what you wanna do but that’s just the way that it is. Don’t you
care what people think? Doesn’t it bother you that, that people are making you
out to be a joke and that I’ll be included in that? Think that’s right? Do you?
Rocky: You
ain't gonna believe this, but you used to fit right here. I'd hold you up to
say to your mother, "this kid's gonna be the best kid in the world. This
kid's gonna be somebody better than anybody I ever knew." And you grew up
good and wonderful. It was great just watching you, every day was like a privilege.
Then the time come for you to be your own man and take on the world, and you
did. But somewhere along the line, you changed. You stopped being you. You let
people stick a finger in your face and tell you you're no good. And when things
got hard, you started looking for something to blame, like a big shadow. Let me
tell you something you already know. The world ain't all sunshine and rainbows.
It's a very mean and nasty place and I don't care how tough you are it will beat
you to your knees and keep you there permanently if you let it. You, me, or
nobody is gonna hit as hard as life. But it ain't about how hard ya hit. It's
about how hard you can get it and keep moving forward. How much you can take
and keep moving forward. That's how winning is done! Now if you know what
you're worth then go out and get what you're worth. But ya gotta be willing to
take the hits, and not pointing fingers saying you ain't where you wanna be
because of him, or her, or anybody! Cowards do that and that ain't you! You're
better than that! I'm always gonna love you no matter what. No matter what
happens. You're my son and you're my blood. You're the best thing in my life.
But until you start believing in yourself, ya ain't gonna have a life. Don't
forget to visit your mother.
GEORGE: I
got a great name for our kids. A real original. You wanna hear what it is? Huh,
you ready?
SUSAN: Yeah.
SUSAN: What is that? Sign language?
GEORGE: No, Seven.
SUSAN: Seven Costanza? You're serious?
GEORGE: Yeah. It's a beautiful name for a boy or a girl...especially a girl. Or
a boy.
SUSAN: I don't think so.
GEORGE: What, you don't like the name?
SUSAN: It's not a name. It's a number.
GEORGE: I know. It's Mickey Mantle's number. So not only is it an all-around
beautiful name, it is also a living tribute.
SUSAN: It's awful. I hate it!
GEORGE: Well, that's the name!
SUSAN: Oh no it is not!No child of mine is ever going to be named Seven!
GEORGE: Alright, let's just stay calm here! Don't get all crazy on me!
JERRY: Seven? Yeah, I guess I could see it. Seven.Seven periods of school,
seven beatings a day. Roughly seven stitches a beating, and eventually seven
years to life. Yeah, you're doing that child quite a service.
GEORGE: Yes I am. I defy you to come up with a better name than Seven.
JERRY: Alright, let's see. How about Mug? Mug Costanza. That’s original. Or uh,
Ketchup?Pretty name for a girl.
GEORGE: Alright, you having a good time there?
JERRY: I got fifty right here in the cupboard. How about Biscuit? Pimento.Gherkin.Sauce.Maxwell
House.
GEORGE: Alright already!! This is a very key issue with me, Jerry. I had this
name for a long time.
41 shots, and we'll take that ride
'Cross this bloody river to the other side
41 shots, cut through the night
You're kneeling over his body in the vestibule
Praying for his life
Well, is it a gun, is it a knife
Is it a wallet, this is your life
It ain't no secret (it ain't no secret)
No secret my friend
You can get killed just for living in your American skin
(41 shots)
(41 shots)
(41 shots)
(41 shots)
41 shots, Lena gets her son ready for school
She says "On these streets, Charles
You've got to understand the rules
If an officer stops you, promise me you'll always be polite
And that you'll never ever run away
Promise Mama you'll keep your hands in sight"
Well, is it a gun, is it a knife
Is it a wallet, this is your life
It ain't no secret (it ain't no secret)
No secret my friend
You can get killed just for living in your American skin
(41 shots)
(41 shots)
(41 shots)
(41 shots)
Is it a gun, is it a knife
Is it in your heart, is it in your eyes
It ain't no secret (it ain't no secret)
It ain't no secret (it ain't no secret)
41 shots, and we'll take that ride
'Cross this bloody river to the other side
41 shots, I got my boots caked in this mud
Baptized in these waters (we're baptized in these waters)
And in each other's blood (and in each other's blood)
Well, is it a gun, is it a knife
Is it a wallet, this is your life
It ain't no secret (it ain't no secret)
It ain't no secret (it ain't no secret)
No secret my friend
You can get killed just for living in
You can get killed just for living in your American skin
This song is based on:
Amadou Bailo Diallo(September 2, 1975 – February 4, 1999) was a 23-year-old immigrant from Guinea who was shot and killed in New York City on February 4, 1999 by four New York City Police Department plain-clothed officers: Sean Carroll, Richard Murphy, Edward McMellon and Kenneth Boss, who fired a combined total of 41 shots, 19 of which struck Diallo, outside his apartment at 1157 Wheeler Avenue in the Soundview section of The Bronx. The four were part of the now-defunct Street Crimes Unit. All four officers were acquitted at trial in Albany, New York.
Diallo was unarmed at the time of the shooting, and a firestorm of controversy erupted subsequent to the event as the circumstances of the shooting prompted outrage both within and outside New York City. Issues such as police brutality, racial profiling, and contagious shooting were central to the ensuing controversy.
JERRY:
Why shouldn't we be able to do that once in a while if we want to?
ELAINE: I know.
JERRY: I mean, really, what is the big deal? We go in there. We're in there for
a while. We come right back out here. It's not complicated.
ELAINE: It's almost stupid if we didn't.
JERRY: It's moronic.
ELAINE: Absurd!
JERRY: Of course, I guess, maybe, some little problems could arise.
ELAINE: We, there are always a few.
JERRY: I mean, if anything happened, and we couldn't be friends the way we are
now, that would be really bad.
ELAINE: Devastating.
JERRY: Because this is very good.
ELAINE: And that would be good.
JERRY: That would be good too. The idea is to combine the this and the that.
But this cannot be disturbed.
ELAINE: Yeah, we just wanna take this and add that.
JERRY: But of course, we'd have to figure out a way to avoid the things that
cause the little problems. Maybe some rules or something.
ELAINE: Huh.
JERRY: For example, now, I call you whenever I'm inclined and vice versa.
ELAINE: Right.
JERRY: But if we did that, we might feel a certain obligation to call.
ELAINE: Well why should that be? Oh, I have an idea. I have an idea. No calls
the day after that.
JERRY: Beautiful. Let's make it a rule.
ELAINE: All right, sir.
JERRY: Now here's another little rule.
ELAINE: Yeah.
JERRY: When we see each other now, we retire to our separate quarters. But
sometimes, when people get involved with that, they feel pressure to sleep
over. When that is not really sleep. Sleep is separate from that. And I don't
see why sleep got all tied up and connected with that.
ELAINE: Okay, okay. Rule Number Two. Spending the night is optional!